John Paul Riley is a junior student at FIU pursuing a degree in Computer Engineering accompanied with a minor in Math. His ambition is to graduate with multiple skill sets like coding in different languages to be able to apply his engineering knowledge. He also hopes to start up his own tech company where he can incorporate his electrical knowledge and coding application. Outside of his academic pursuits, his hobbies are DJing, traveling to different countries, and hanging out with friends.

Art Encounter as Text

https://www.dazeddigital.com/art-photography/article/44781/1/keith-haring-tate-liverpool-new-york-art-scene-artist-radiant-baby

“Art”

By John Paul Riley of FIU, 31 August 2023.

I’m not very familiar with the art culture in Miami, besides the Miami Art District and Brickell. Walking around those areas, I wouldn’t be able to interpret exactly what I’m looking at or what purpose it had in being there in the first place but I always appreciated it being there. I never really explored too much outside of my favorite artist who is Keith Haring.

My knowledge of what exactly is contemporary art outside my understanding that its art made recently is little to none. I wouldn’t have known Miami is one of the leading cities for contemporary art in the world but I feel as if if you were to ask someone if it was, Miami has too much culture and diversity to not be in the lead for cities carrying contemporary art.

I’m in this class to become a little more cultured, to explore Miami more, and to get interested in something that isn’t very closely related to my major which is computer engineering. If art were to conjure a single image in my mind, I’d think of the famous “Comedian” piece.

https://www.vogue.com/article/the-120000-art-basel-banana-explained-maurizio-cattelan

I hope to leave this class with some new knowledge and understanding of the world and art around me. Being able to appreciate art more and be more acclimated to really understanding and dissecting pieces instead of just thinking this looks cool. I’m most excited to go to visit MOCA, I love where contemporary art is now and how artist all have their own twists of it all.

PAMM As Text

“Liminal Spaces”

By John Paul Riley of FIU, 10th of September 2023.

When you search up “liminal spaces in art” the first search gives a definition of liminal space as “the time between the ‘what was’ and the ‘next’.” (1). When visiting the Perez Art Museum and analyzing liminal spaces used in art, I was given the impression that it’s moments that are almost surreal but not at the same time. For example, they had an exhibit where it was multiple angles of a waiting room. At first glance, I was confused at what I was looking at but after a few moments, I realized why something as simple as a waiting room gave me such an out of body experience. In life, we mostly remember where we begun and where we end our multiple journeys. The middle experiences leading up to a moment are almost forgotten. Like when waiting for an appointment, our brains seem to be so under stimulated just by waiting that we seem to skim over it when recalling the situation.

Original fine art © Evan Wilson. Daily Paintworks. (n.d.). https://www.dailypaintworks.com/fineart/0bb800cf-7452-4f4d-940f-7557a630f6f3

Using Evan Wilsons piece “Liminal Space” is a perfect example of the clever use of liminal spaces. Before beginning your long day at work or school, you get ready in your room. You almost lose that sense of reality of looking at a messy room because it isn’t something you actively think about in the grand scheme of your day.

Liminal art examines those moments in time where we are leading up to a destination. There was another exhibit that I found so interesting at the Perez Art Museum where there was a black corridor we walked through and on your sides you can only see a sidewalk with a sewer drain. Again, perplexed with why this was considered art, after being explained the use of liminal space like walking on the street from one place to another I began to recognize how ingenious it was.

Another example of Liminal Art seen at the Perez Art Museum is the pool exhibit they had outside the museum as seen in my photo. The idea of liminal space being used here is being inside the pool and creating this new reality. The lighting and ambiance of having other people look down at you while being able to breath under the pool was the liminal space that the artist was trying to create.

I have a new found appreciation for liminal art, and gave me a new perspective when trying to examine art. I used to believe that art had to be this beautiful image on a paper made using some tools and just be something aesthetically appealing to look at. I know understand that art comes with a message and some psychology of how we think and percieve things. Every piece came with a message and gave me a new perspective of how to understand other aspects of life besides art.

(1): Liminal spaces. Cambridge Art Association. (n.d.). https://www.cambridgeart.org/liminal-spaces/#:~:text=About%20%7C%20%E2%80%9CA%20liminal%20space%20is,and%20let%20it%20form%20us.%E2%80%9D

Norton As Text

DE KOONING. INTERCHANGED, 1955

By John Riley of FIU, Norton Art Museum, September 22nd 2023.

The drive to go to the Norton Museum at first seemed like such a daunting task, but I wasted energy complaining about it because it was so far the best Museum I’ve ever gone to. In a relatively short time frame I was able to experience thousands of years of art in a single building and all of them were breathtaking. One that stood out to me the most (excluding the Keith Haring painting I was able to awh at for a solid few minutes since he is my favorite artist) was abstract expressionist.

Abstract Expressionism was a movement that came about after World War 2 in New York. The movement completely moved away from what was considered traditional in the sense that it wasn’t reflective of something you’d normally see and had no real focus on what to look at in the piece. It was supposed to present the artist’s individual psyches, at first glance though most people would think my kid could probably draw this however no ones kid has and completely changed the scope of how people depicted art. (Abstract Expressionism, 2004)

Abstract Expressionist paintings don’t have any real clear focal point for the viewer to really pay attention to. It’s so much happening at once that you simply have to take everything in at once. In this particular piece though, in person you can see that the artist obviously placed multiple layers of paint on each different stroke. This style of abstract expressionism is considered “Action Painting”. (De Kooning, Interchanged, 1955)

Within the museum, they had a dedicated section to abstract pieces where you could see each artist implement their own little pizzazz into each of their own pieces. None even seemed to look like the other and I personally felt that even if I tilted my head upside to the right or to the left, I felt like I was looking at a completely new painting.

The Norton Museum of Art offered a welcoming setting for exploring new art, as well as the artistic movements that came before and after it while giving context on each painting or structure. Recognizing the significance of comprehending the antecedent and subsequent movements gave me an even deeper understanding and appreciation to art. My experience engaging with diverse art styles and artworks at the Norton Museum has not only enriched my appreciation for revolutionary art movements.

References:

Paul, Stella. “Abstract Expressionism: Essay: The Metropolitan Museum of Art: Heilbrunn Timeline of Art History.” The Met’s Heilbrunn Timeline of Art History, 1 Jan. 1AD, http://www.metmuseum.org/toah/hd/abex/hd_abex.htm.

“Norton Museum of Art.” Bailly Lectures, 28 Sept. 2023, baillylectures.com/miami/norton-museum-of-art/.

de la Cruz As Text

GONZALEZ-TORRES. UNTITLED (PORTRAIT OF DAD), 1991.

By John Riley of FIU, de la Cruz/Rubell Art Museums, October 15th 2023.

After visiting the Rubell Museum and eviscerating some Popeyes for lunch with a friend. Our class visited the de la Cruz Art Museum and were given a tour by an FIU Honors College Alumni. I go into every new museums with no expectations because I’m too ignorant to even know what I’m expecting out of the experiences of going to different museums with different collections. From my cumulative experience from this class, De la Cruz was for sure not my favorite museum I’ve visited from the experience alone but is my new current favorite for the pieces of art it held inside of it. If that even makes sense.

The Museum had a lot more hands on art than other museums we’ve visited and being an engineer I don’t like sitting around and talking about the idea of something where as I could be working on the practicality of something to use in our everyday lives. I was able to eat art and take a poster home which I gifted my sister.

Felix Gonzalez-Torres was a gay Cuban American who used everyday materials to make his pieces but with the intention of the audience to physically interact with them. He wanted to manifest his work to be more dynamic so every time someone visits his exhibit it’s not exactly the same as it was before. His dynamic way of viewing everything was pretty progressive along side with how he thought society should act. He felt that everyday there was always change and that people should acclimate to it and its everyones individual responsibility to create their own view on it. (Felix Gonzalez Torres Wiki)

Felix made this piece called “Portrait of Dad” which is a stack of his fathers favorite candy and the pile weighed as much as his father did. Felix was a pretty silly guy though, to go along with this piece there is a quote that he said “You put it in your mouth and you suck on someone else’s body, and in this way my work becomes part of so many other people’s bodies. For just a few seconds, I have put something sweet in someone’s mouth, and that is very sexy.”. (GONZALEZ-TORRES. UNTITLED (PORTRAIT OF DAD))

Felix believed that there should be a greater overlap in private and public life relative to when he was alive which was from 1957-96. Its postulated that his works were inspired by the Bertolt Brecht’s theory of epic theater. With this in mind, he wanted to inspire people to create some social action with his pieces relating to love, loss, sickness, gender, and sexuality which in his time was something that wasn’t spoken about in public too often. He was definitely apart of a much greater social movement that helped society get to where its at today. (GONZALEZ-TORRES. UNTITLED (PORTRAIT OF DAD))

I’ve come to realize that I really enjoy artist who explore the idea of what we define as art but in more silly and goofy ways than others but also use their work to impact an idea much larger than themselves like Felix did in his multitude of work.

References:

“De La Cruz Collection.” Bailly Lectures, 13 Oct. 2023, baillylectures.com/miami/de-la-cruz-collection/.

“Félix González-Torres.” Wikipedia, Wikimedia Foundation, 12 Oct. 2023, en.wikipedia.org/wiki/F%C3%A9lix_Gonz%C3%A1lez-Torres.

Margulies/Locust as Text

Anselm Kiefer. Die Erdzeitalter, 2014. Margulies Collection

By John Riley of FIU, Margulies/Locust Art Exhibitions, October 20th 2023.

The day started off by visiting the Margulies Collection which is owned by Mr.Margulies who lets students visit his collection for free if you’re a Florida student and come with you’re student ID, which I thought was really cool gesture from him to encourage coming and appreciating art to the younger generation. When I walked into the museum, I was greeted by many intricate, bold, and exciting pieces of art that was either hanging on a wall, a statue in a corner, or even an entire room dedicated to one singular piece. After this though we went to a location in Little Haiti called the Locust Projects. I was able to meet an amazing passionate artist called Jen Clay where I had the privilege of being apart of one her pieces (Later on, I got to chase after people in a monster costume curated by her which was a lot of fun). Going to the locust project was the most insightful experience I’ve had as someone who isn’t an artist in the world of being an artist. It reminded me (as someone who is speaking from an engineers perspective) of a lab except the equipment and tools were different but the same love and passion of your work vibe was there. It was an awesome first time experience.

One of the many pieces that caught my attention at the Margulies was a collection of small statues called 21 backs by Magdalena Abakanowicz. It was hard to exactly understand what I was looking at first, however I realized the bodies can be perceived to be doing different things. I at first thought they might’ve been praying or waiting for something patiently like kids sitting around criss cross apple sauce position. However the author purposefully made the people like that to be up to interpretation. An anecdote she left with the piece that came from someone who witnessed the piece for the first time says that essentially our bodies can express more of our true emotion than our faces can. (ABAKANOWICZ. 21 BACKS, 1982.)

Also amongst all of the pieces there was a room that was basically on top of the Margulies collection that was covered in mirrors and had no roof on it. The piece was called “Your now is my surrounding”. I personally liked the cool photos you could’ve taken in it but it Olafur Eliasson used simple natural elements to get viewers to view the world differently with the use of mirrors. The idea behind the piece was to help see yourself see, which is a funny idea but it helps whoever experiences the room to see themselves and art differently all at the same time. (ELIASSON. YOUR NOW IS MY SURROUNDING, 2000.)

As an avid enjoyer of street art, I was pleasantly surprised to also see a piece by Barry McGee called “Truck Installations with TVs”. This piece was interesting to me because this piece helped translate counterculture to becoming something that people can actively see in museums. Barry McGee would roam the streets to try and find what he thought he could implement in his pieces to create some new art. Museums to me, act almost as a history book. Each piece contextualized to its time and who the creator was and their perspective of how the world is. Mr.Mcgee was also to help bring history of urban culture into museums which to me added a new page of history which isn’t commonly seen in museums everywhere. (MCGEE. UNTITLED (TRUCK INSTALLATION WITH TVS), 2004.)

All in all, I really enjoyed seeing the hands on approach of artist like Jen Clay and seeing their natural work space and how they thought about bringing their pieces into life. The Margulies Collection was also extremely fascinating because of it’s different histories and how you can see how much the owner takes care and appreciates the different works within his collection.

References:

“The Margulies Collection at the Warehouse.” Bailly Lectures, 22 Oct. 2023, baillylectures.com/miami/the-margulies-collection-at-the-warehouse/.

Wolfsonian as Text

Harry Clark. Geneva Window, 1926. Wolfsonian Museum

By John Riley of FIU, Wolfsonian Museum, November 3rd, 2023.

When I was walking to the Wolfsonian Museum, I noticed that the building had a lot of personality in it. It wasn’t your typical building on the side of the road. It looked older and looked like it held something important in it at some point for a long time. Shortly after beginning the class, we were explained to the building the history of the building and why it looks the way it looks. It used to be a storage space for a company that was remodeled to become a Museum, which seems like a common occurrence but I like the creativity of it.

Harry Clarke was a predominant stained glass artist. He began his stained glass art career with his dad because he used to be a church decorator that had a stained glass subdivision. He started producing mostly with his brother after his dad sadly passed away. His art is distinguishable by the creative incorporation of the window leading into the overarching design scheme and its rich color. He also used a lot of heavy lines in his work. His work was mostly made up of a lot of religious pieces. (“Harry Clarke”)

Harry Clarke created a piece to present to the league of nations in Geneva to offer to the Irish government. After presenting his masterpiece it was rejected by the Irish government. After not being accepted by the Irish government because it was seen as unrepresentative to the Irish people. I found the Geneva Window to be particularly funny. The portrayal of Irish culture wasn’t accepted by their own government because Henry Clark decided to show what it meant in his eyes to be a true Irish man. I found it funny and interesting to realize how deep in meaning some art goes and how it’s almost like a history lesson on our past drama. Taking into consideration the idea behind the art, who it is meant to be seen by, who the art might be gifted towards, how the art itself is actually perceived, and how the perception of the art also changes. (“The Wolfsonian FIU”)

I enjoyed going to this museum particularly because of how the class was actually done. There was an in-class activity done with a group to describe a painting that we were assigned in writing. But we passed our papers to others without them seeing what we wrote and letting them continue from the previous anecdotes. Everyone had a different perspective and focus on what was happening in each of the paintings even if it was a simple drawing. I enjoyed hearing about other’s perspectives and realizing that art is so multidimensional that everyone can enjoy a painting even if nobody is necessarily focusing on the same aspects of it.

References: 

“The Wolfsonian FIU.” Bailly Lectures, 17 Nov. 2023, baillylectures.com/miami/the-wolfsonian-fiu/. 

“Harry Clarke.” Wikipedia, Wikimedia Foundation, 27 Sept. 2023, en.wikipedia.org/wiki/Harry_Clarke. 

Frost as Text

KELLEY. MEMORY WARE FLAT NO. 48, 2008.

By John Riley of FIU, Wolfsonian Museum, November 3rd, 2023.

The Frost Art Museum genuinely shocked me on how extensive it was being that the Museum was at FIU. I would’ve expected more people to go more often and appreciate it because it was amazing. I’m going back to revisit for the simple fact that I didn’t know how close I was to an authentic Keith Haring piece every time I went to school. I also like that they promote FIU made artists too, like with the head pieces they had on display. 

The Frost Museum is quite quirky in my opinion due to the simple fact that it is regulated by the State of Florida since it’s funded by FIU which is a public university. Essentially implying that the museum can’t go insane and put whatever they want on display like some other museums. Mr.Bailly was explaining to us that they wanted to hang a sign that says “fuck you” or something to that regard outside the museum to build a small aesthetic but they couldn’t because it wouldn’t have been accepted by the people employing the people who manage the museum. 

Mike Kelley was born in Detroit and was very against the Pop art in vogue that was popular at the time. He cared more simply about the message his art was sending than how it looked. One of his famous quotes was “I am more interested in questioning the conventions of reading within a given genre.”. In his painting “Memory Ware Flat No. 48”, he used a Canadian tradition of decorating our day to day items with other random items. His purpose for this piece was to show the connection between our almost worthless junk and reminding us of the sentimental value it holds. I found the idea trivial but it served its purpose well. It made me think about the little intricate things that were commonly used in my life that gave me good memories. (Frost Art Museum FIU)

 Mark Bradford was born in Los Angeles and his mother rented/worked in a salon. Mark would work there on occasion and ended up getting his hairdressers license. Mark’s artistic identity was combining collages with paint. He’d apply different techniques to his paint collages like tearing, shredding, and sanding it down. In his painting, “IN WHICH HE SHALL BE”, he used inspiration from his mother’s hair salon because to him it was a meeting place in their community for diverse different people to meet. Bradford expressed that by using different items like posters he’d find around his neighborhood in this work and also included excerpts from the preamble and first article of the Constitution of the United States. He wanted to express how the rights and liberties of its citizens in his perspective as a gay black man has diminished which is shown by the large golden slash over the words. I found this piece to be really creative and I can understand the empowerment that it must’ve given black communities because he was also named on the top 100 most influential people in 2021 in the times magazine. (Mark Bradford Wiki)

All in all, this museum needs to be more widely spoken about at FIU because it’s incredibly well managed and has amazing pieces to share for the public (especially since it’s free, which is insane). I’d go back just to take more pictures of the Keith Haring piece they have but the explanations for all the paintings and sculptures was phenomenal. It made me appreciate paying for tuition slightly more.

References: 

“Frost Art Museum FIU.” Bailly Lectures, 18 Nov. 2023, baillylectures.com/miami/frost-art-museum-fiu/. 

“Mark Bradford.” Wikipedia, Wikimedia Foundation, 6 Nov. 2023, en.wikipedia.org/wiki/Mark_Bradford. 

Art Final Reflection

Photograph taken by John Riley (Miami, FL 2023) / CC by 4.0

By John Riley of FIU, Art Final Reflection, December 12th, 2023.

To be honest, I picked this class because I had no idea on what to do for my honors class since I joined late and there wasn’t a lot of space in other classes. I didn’t expect to genuinely enjoy this class because I wasn’t ever a big art guy in the past. I actually thought I wouldn’t like the course because in highschool I was a bit put off by art because the art history teacher in my school didn’t like me (and I didn’t like her). This class made me realize the massive art scene that there is in Miami, that I never realized was there before. I would recommend this class to anybody in any major. I feel that this class helped me grow my cultural knowledge, my knowledge of Miami, besides obviously art and art history. 

Visiting all these museums made me realize that art was more than a tax right off for rich people. It’s where people can write out a bit of history without using any words. It’s a way for people to dictate their thoughts that can have super deep meanings or be something more light hearted like a vacuum hanging on a wall. I enjoyed watching history get unraveled for me from a painting or structure. It was also amazing to see the evolution of how art got to where it is today. I particularly enjoyed contemporary art from all the museums, it’s exciting for me to see where it will continue off too. 

I also hated the fact that we had to blog after every class if I’m being honest. Now I kind of appreciate it, I have a bunch of photos that I took throughout the semester and well documented recollections of my visit that I can go back and appreciate later. 

This class didn’t feel like a class after looking back on it, it felt like a series of experiences I shared with other FIU students. Since it didn’t feel like a class besides the work I had to do at home, it felt like a more of an enjoyable experience. My favorite museums were easily the Rubell Museum, then the Norton, and lastly to round off my top 3 is the Perez Art Museum. The Rubell had the pieces I enjoyed looking at the most. The Norton was far and that offset my expectations but it was awesome. Lastly, PAMM was where the adventure started so it holds a little place in my heart now. I’m glad I took this class, it left me with a lot of memories and now I’m an art guy.

Miami Encounter as Text

“A colorful city” by Isabella Jaimes of FIU, September 9, 2023

Miami, a city that pulsates with latino vibes, holds an special place in my heart. Born in Colombia and raised in Panama, I couldn’t have asked for a better destination that somehow feels like home, despite being thousands of miles away. My connection with Miami runs deep, and it’s not just a city; it’s an experience. As someone with Latin American roots, Miami became a second home to me. It was a place I frequented for vacations, and its influence on my life was so profound that I even choose “Wynwood Walls” as the theme for my XV party. This city, with its vibrant music, electric vibes, captivating art, and diverse populace, offers an array of reasons to fall head over heels for it. Miami, in its essence, is the perfect consolidation of cultures and interests, a place where you can find a little bit of everything.

Picture this: one day, you wake up in Miami, and the sun’s warm embrace signals you to chill and soak its rays. The beach, with its natural sands and azure waters, is just one of the many options at your disposal. Miami is a retreat for beach lovers, where you can relax in the sun or simply lay down at the beach. Miami posses an impressive lineup of restaurants representing cuisines from all corners of the globe. Whether you crave the spicy flavors of Latin American or the classic comfort of American dinner fare, you’ll find it in here.

But what truly sets Miami apart is its music scene. Music flows through the city’s veins like a constant heartbeat, and it’s universal language that unites people from all walks of life. Even if you’re hearing a particular genre or artist for the first time, the appreciation of music is a shared experience among Miami’s residents and visitors alike. It’s a place where music isn’t just heard; it’s felt, lived, and celebrated.

When I think of Miami, the phrase “good vibes” immediately comes to mind. There’s an energy in the air that’s infectious, a feeling of positivity and excitement that fills every corner of the city. It’s not just about the beautiful beaches or the diverse food options; it’s about the people and their enthusiasm for life. In Miami, you’ll encounter friendly faces, warm smiles, and a sense of community that makes you feel welcome, no matter where you’re from. Miami is a city of contrasts and contradictions, where the old meets the new, the traditional coexists with the original, and the past dances with the future. It’s a place where you can explore historic neighborhoods like Little Havana, with its rich Cuban heritage, and then travel into the futuristic realm of art and technology in Wynwood.

Miami is more than just a destination; it’s an experience that leaves a lasting mark on your heart. For me, it’s a place where my Latino roots intertwine with the vibrants of this dynamic city, creating a sense of belonging and nostalgia. Whether you seek relaxation, culinary adventures, or a musical journey, Miami offers it all with a side of those unmistakable “good vibes”.

Historic Miami/Overtown as Text

“Miami’s Vibrant Neighborhood” by Isabella Jaimes of FIU, September 18, 2023.

This was our first destination of many upcoming ones along this course. Being able to deeply explore the city in which we are pursuing our dreams performing one of the most significant stages in life, college. The most exciting part is to realize that this is a course that is more than evaluating information in between four walls, it is more than that. On September 6th, we went to one of the city’s most vibrant neighborhood. Overtown is a special neighborhood in Miami, Florida. It is a place filled with history, culture, and people who make it unique. We had the major pleasure to listen Alberta Godfrey side of the story, and as much as I thought it was going to be based on just dates and memory known history, it was from the bottom of her heart and her own lived experience. The neighborhood appeared to be known before as “Colorful Town” because it was primarily home for African Americans. During the segregation era, it became a thriving center for the African American community. One of Overtown’s crowning jewels is its music scene. This neighborhood played an instrumental role in the development of jazz and soul music in the United States. Today, echoes of this music legacy still resound through the streets of Overtown, with jazz and soul serving as the heartbeat of its cultural identity. This was mentioned throughout the speech, there used to be night clubs in every single street of the neighborhood. The residents of Overtown share a deep sense of community pride. Many families have called this neighborhood home for generations, fostering strong bonds that make Overtown a friendly and welcoming place. There’s families that come by the neighborhoods every weekend because their grandparents still live there or just for the simple fact that is the place they were raise and they want to spend time back home. Like many urban neighborhoods, Overtown has faced its share of challenges, including issues related to poverty and crime. However, the community is resilient and determined. Various initiatives are underway to improve housing, create job opportunities, and enhance overall living conditions. these efforts are gradually transforming Overtown into a safer and more prosperous place for all.

Overtown is a canvas adorned with colorful street art and murals. Strolling through the streets feels like exploring an outdoor art gallery. This artistic expressions not only beautify the neighborhood but also narrate stories of its past, culture, and aspirations. Every mural has a tale to tell, making Overtown a living testament to the power of creativity. The neighborhood is renowned for its delightful soul food and delectable Caribbean cuisine. I am not gonna lie, I would love a family business any more than other. I feel like there is so much in this businesses than the taste of the food, there is love in every single factor. We were able to go to a family business restaurant which appeared to be one of the best knowns in the neighborhood. They even had a wall of fame, and the joy spreading when offering the service was noticeable. Overtown remains steadfast in preserving its cultural heritage. Initiatives are in place to ensure that the neighborhood’s history and traditions are passed down to future generations. The history that recalls the neighborhood is so captivating, thriving music culture, resilient community, and culinary delights. Overtown stands as a testament to the strength of its residents and their determination to create a better future while cherishing their past. Without a single doubt, Overtown is a truly exceptional part of Miami, waiting to be explored and appreciated.

Coconut Grove/Vizcaya as Text

“The real Grove’s historic background experience” by Isabella Jaimes of FIU, October 1, 2023

We had the opportunity to visit Vizcaya Museum & Gardens which is triple the space of what anyone could think. Visiting the Vizcaya Museum & Gardens offers a rich cultural and historical experience. Nestled in the heart of Miami, this iconic museum provides a glimpse into the extravagant lifestyle of the early 20th century. Visitors can learn about art and architecture in a stunning setting. Art enthusiasts can explore at the museum’s vast collection of European and American art, including paintings, sculptures, and decorative arts. Each piece reflects the elegance and opulence of the Gilded Age, providing valuable insights into the artistic styles and tastes of that era. Architecture enthusiasts can appreciate the divine of the Vizcaya Villa, designed in the Mediterranean Revival style. The architectural details, including elaborate interiors and exquisite furnishings. Visitors can learn about the architectural innovations and inspirations behind the construction of this magnificent estate. Nature lovers can explore the beautifully landscaped gardens, which feature greenery, fountains, and sculptures. The gardens offer a peaceful retreat, allowing visitors learn about various plant species and landscape design techniques. Something that I noticed was that they offer educational programs and guided tours, which will provide in-depth knowledge about the history and art of Vizcaya. Through this visit, I learned that Vizcaya Museum & Gardens offers a holistic learning experience, allowing visitors to deep into art, architecture, and nature while immersing themselves in the enchanting ambiance of a bygone era. After this visit, we were able to get some lunch with our classmates. Me and my friends went to a pizza place at Coconut Groove, a time were we shared a couple of laughs and good moments to continue with the day. Coconut Grove is a neighborhood known for its bohemian charm and rich cultural heritage. With a history dating back to late 1800s, Coconut Grove promises a diverse learning experience. The artistic scene can be explored in numerous galleries and boutiques showcasing local talent. Artists and craftsmen often display their creations, providing an opportunity to understand the contemporary art scene in Miami. Also, apparently Coconut Grove hosts various art festivals and events throughout the year, allowing any visitors to learn about different artistic expressions and styles. Coconut Grove played a significant role in Miami’s development, we meet at the Coconut Groove Playhouse which is one of the iconic historic sites. Learning about the Grove’s history involves understanding its multicultural roots, from Bahamian influencers to the waves of immigrants that shaped the neighborhood. This visit to Coconut Grove provided a deep-in exploring of the real history behind Coconut Groove. We visited historical buildings that are still in good conditions up to these days, which were owned by the founders of Coconut Grove. After a couple of street blocks, we had the opportunity to visit a church which could be known as one of the only churches with stained glass windows where pictures people of color and one of them was in honor for Martin Luther King. Afterwards, we visited the outside of a church that had the same architectural material of coral texture as in the Vizcaya Museum. Finally, we got to an old building that was one of the first school or classroom in Miami, and I would like to mention this was my favorite spot. Once I got in, I felt goosebumps since is in perfect conditions. It was like if I went back in time and experienced the moment.

Biscayne Bay/Chicken Key as Text

“The Orange Kayaks’ Hangout” by Isabella Jaimes of FIU, October 22, 2023

The day started by a good carpool moment with friends enjoying the drive towards our destiny. We meet with the class at Deering Estate, there is an over excitement feeling for the kayaking part. I consider myself an active person and I have past experience in paddle boarding and kayak. The weather was pretty, the sun was out, and we were more than ready to start our journey. Biscayne Bay and its surrounding areas paints a vivid picture of the delicate balance between nature and human intervention. We were heading to an Island called Chicken Key. While kayaking, I was able to enjoy the beautiful panoramic view of the island, which it also felt like every time we were getting near the island was getting further. Once we got to a more visible point of view of the island, we were able to identify the mangroves ecosystem. The mangroves of Biscayne National Park stand as a testament to nature’s resilience. These tangled ecosystems, with their labyrinthine roots, serve as guardians of the bay. They filter the water, slowing its flow and allowing sediments to settle. In their halfway point, numerous marine life is found as a sanctuary, from the tiniest organisms to commercially important fish, shrimp, and lobster. The fallen leaves from these mangroves create a cycle of life, becoming food for marine creatures, which in turn support larger animals and, ultimately, Florida’s fisheries. The mangroves are not just trees; they are vital components of an intricate web of life.  Chicken Key, a small island whose fate was significantly altered by human activities. Dredging in the 1940s transformed this natural sand island, leading to the destruction of dunes and altering its landscape irreversibly. However, in a remarkable act of restoration, efforts were made to return Chicken Key to its original state, emphasizing the importance of preserving natural habitats in the face of past mistakes. There is groups of people that take charge of cleaning up this island, surprisingly, there is trash that comes all the way from other countries. As a team, we were able to walk around the island and pick up every disturbing trash that we could fin on the way. Afterwards, we took advantage of the sun and we laid down on the kayaks to relax and interact with each other. We got in the water, which it was pretty cold but it was a nice feeling since we have already been under the sun for hours.  

Biscayne Bay serves as a mirror to our relationship with nature. It highlights both the impact of human actions and the ability of ecosystems to adapt and endure. This class on Chicken Key remind me the crucial role mangroves play in maintaining the health of our oceans, supporting marine life, and sustaining the fisheries that many communities rely on. Picking up the trash implied on the importance of conservation and restoration efforts, reminding us of our responsibility to protect these invaluable natural treasures for generations to come. This experience led me to a reminder of the delicate balance we must strike between progress and preservation. It made me appreciate the beauty of our natural world, protecting the fragile ecosystems that sustain life, both beneath the water’s surface and beyond.

Deering Estate as Text

“Discovering Miami’s Natural Wonders” by Isabella Jaimes of FIU, October 29, 2023

One of the things that I love the most about this class is that I get to know the most unexpected places of our city. When anyone talks about Miami, the first thoughts would be sun out, summer, and going to every beach. But there is way more than that behind the essence of Miami. We had the opportunity to go back to Deering Estate, this time for a hiking experience. The hiking journey exceeded my expectations because it is a whole different world from the places that I have visited in Miami. We made our first stop at the “Stone House”, Charles Deering’s house, where I felt like in a time capsule having a vision of the life of Charles Deering. Right after, we got prepared to start the hike and enrich ourselves with historic information. Imagine walking through eight distinct ecosystems, each unveiling its unique secrets. The Tropical Hardwood Hammock, Salt Marsh, The Pine Rockland, Deering Estate Flow-way, Mangroves, Beach Dune Chicken Key, Submerged Sea Grass Beds, and Remnant Slough welcomed us to explore the authentic flora and fauna of Miami. Among the dense greenery and narrowed path, we would encounter solution holes, which are deep holes in the ground that are covered by leaves or would camouflage really well with the surroundings meaning we had to be very careful.

Searching deeper into the Estate’s history, we would be able to trace the footsteps of ancient Paleo-Indians, discovering the burial site of the Tequesta people. Once we got to the mangroves, it was really difficult to walk through since you couldn’t see where we would step and also trying to avoid stepping on the mangroves. The walk through this cold water was worth it because we got to see the “Cocaine Cowboys Plane”, it is impressive how this plane has preserved in the middle of the mangroves it felt like I was viewing it on a museum.  Between this biodiversity, the Estate preserves the Cutler Fossil Site, a sinkhole that sustains the remains of Pleistocene beasts like the mastodons, dire wolves, and saber-toothed tigers. So imagine contemplating into this ancient pit, felt like standing in a sanctuary frozen in time. We got to a point called the “Tequesta Midden”, a site revealing the tools of a vanished civilization. The professor handed us the tools, some were able to hold this smoothed-out, spear-like shell bits used once by the Tequesta people for daily tasks. 

The journey through the Deering Estate Nature Preserve is a profound encounter with the essence of Miami’s natural and historical heritage. As a college student, this expedition becomes a transformative experience, a mix of the ancient civilizations, the diverse ecosystems, and architectural marvels of the bygone era. This preservation served as a living classroom, teaching lessons of environmental conservation and cultural preservation. This journey leaves a fostering deep respect for the land’s history and a commitment to its preservation. The Deering Estate Nature Preserve becomes not just a destination, but a cherished memory, creating a feeling of safeguarding our planet’s natural wonders.

South Beach as Text

“The famous road that breaks away from traditional designs norms” by Isabella Jaimes of FIU, November 12, 2023

The first time I heard we were going to South Beach for one of the classes, I honestly thought what is it that we could learn more about besides the beach and the famous Ocean Drive. I have probably mentioned it before how I used to visit Miami during vacations very frequent. One of my favorite places to visit was South Beach but I just recognized this location because of how popular the beach is. Thank to this course, I have learned that there is so much more in every single corner of Miami that myself or every other person who does not lives here could ever thought about. Our meeting point was South Pointe, just starting by this spot I already knew I was going to learn so much during this class. I have never been at South Pointe before and it is maybe one of the nicest locations I have seen in Miami. The Fisher Island, a whole different world, literally, it is the first time I have heard about this place. In Panama, there is something similar, the idea of a neighborhood in an island. However, the high standards and the prices from Fish Island are way more advanced. After enjoying the breeze and the view of the beach and the island at this perfect spot, we started our day by heading to Ocean Drive. 

The amount of times that I have walked or driven through this road and not once I have noticed the potential in the architecture and art throughout this neighborhood. Exploring South Beach’s Art Deco neighborhood was an enlightening experience that not only offered a glimpse into architectural history but also unveiled the layers of cultural significance implemented in the vibrant streets of Miami. Now that I have actually seen it, one cannot walk through South Beach without being captivated by the distinct aesthetic of the Art Deco buildings. The rule of three, a prominent feature, manifests in the three-story structures and the outside divided into three sections. Learning that this design choice was influenced by city codes at the time, which required elevators for taller buildings, highlighting artistic expression. The deliberate choice of pastels in South Beach, echoing the environment’s clouds, water, and flora, showcased a thoughtful integration of architecture with its surroundings. The inclusion of unconventional elements like “eyebrows” – long horizontal shades resembling unfinished balconies – added a playful and dynamic dimension to the Art Deco movement. Circular windows, inspired by ocean liners, and low-relief abstract representations of flora and fauna demonstrated the movement’s commitment to breaking away from traditional design norms.There is also the Neon, which we are not able to appreciate since we went during the day. Fortunately, I have been able to see them before and is just the perfect visualization for any tourists, since its such an attractive characteristic, specially in an area in front of the beach and that is known for the bars and restaurants. 

The visit to the Villa Casa Casuarina, while not an Art Deco building itself, added a emotional layer to our exploration. Versace’s contributions to South Beach’s culture and his untimely death on the steps of his home served as a reminder of the complex and twist in relationships between art, culture, and personal stories. It was mentioned also a place named the “News Cafe”, which it really called my attention the dynamic of this place sharing the newspaper from all around the world and it is still open until this days. We ended up in Lincoln Road, where I have been maybe twice before and we walked in H&M to appreciate the respect the store had for the architecture and based there arrangements on it. 

The detour to the Jewish Museum of Florida-FIU added a crucial historical perspective to our exploration. The museum’s focus on telling the story of more than 250 years of Florida Jewish history, including the discrimination faced by the Jewish community in the past, offered a broader context for understanding the diverse layers of South Beach’s history. 

In conclusion, the exploration of South Beach’s Art Deco neighborhood, was not just a visual enrichment but a journey into the history, culture, and individual stories that shape the identity of this unique destination. The experience has deepened my appreciation for the variety in nature of architecture and its profound impact on the cultural narratives of a place.

Everglades as Text

“Connecting with the essence of preserving our ecosystem” by Isabella Jaimes of FIU, December 8, 2023

I knew this was going to be a whole journey the moment we started driving into the Everglades National park. It really felt like if I was in a whole different country. It was only us, driving in the road and nothing else around us. It felt like in a movie when the people do roadtrips and there is nothing else in the image but them in the car. As a college student fortunate enough to embark an experience to the Everglades as part of my class, this experience has left a mark on my perspective about the environment and the crucial role humans play in preserving the unique wonders of the world. I have heard the Everglades is often described as a “river of grass”, it honestly felt some way the moment I set foot. The journey into the Everglades was not a visit; it was a lesson in environmental protection. The fact that there are no other Everglades in the world makes it a responsibility for all to appreciate, understand, and protect this unique ecosystem. The Everglades national Park, established in 1947, stands as a testament to the dedication of early conservations, scientists, and advocates who saw the need to conserve the natural landscape and prevent further degradation. The UNESCO world heritage Site designation adds a global significance to the Everglades, emphasizing its outstanding universal value. The park has diverse habitats, from mangrove ecosystems to sawgrass prairies, this creates a complex environment supporting a rich diversity of flora and fauna. Apparently, it is not a local treasure but an international one, recognized for its importance as a biosphere reserve. 

We arrived to “The Ernest F. Coe Visitor Center”, this was our meeting point for all students in the class to meet with the professor. This was also our starting point for our Everglades adventure. The ranger’s expertise and the wealth of information provided, along with the educational facts, fulfilled us with deeper understanding of the Everglade’s significance. Next stop, “the Hole-in-the-Donut”, it was large space with some trees and just in the middle or maybe more near to the road there is this hole full of water. The history of this spot showcased the challenges of preserving the Everglades. There is intrusive exotic pest plants, that disrupt the natural balance. It is an ongoing project to eradicate these inverse species and restore the area to its original state. We went to “The Slough Slog”, which for me at this point I was confused and lost because we just pulled to the side of the read and there was not entrance or like a small trail or anything. This was a walk through the Everglades river, an experience never felt before. Unfortunately, we were the only class with no guide so my emotions where all over the place. We ventured into the heart of Everglades, using walking sticks to navigate the terrain. This part created a connection with the essence of the Everglades and the importance of its preservation. If I am totally honest I was more than happy that we did not see any alligator, snake, or any big animals. I am very passionate and caring towards the animals, but I like them from a distance. 

In conclusion, my journey to the Everglades was not just a field trip; it was a deep lesson in environmental responsibility. The Everglades, with its unique landscapes and diverse ecosystems, reminded of the delicate balance between human actions and the preservation of the world.

Miami Final Reflection

“The city that encapsulates the essence of beautifulness” by Isabella Jaimes of FIU, December 10, 2023

Exploring the vibrant city of Miami as a college student within the framework of Miami in Miami class has been an eye-opening and transformative experience. The semester-long journey took me to various iconic locations, each offering a unique perspective on the rich tapestry of Miami’s history, culture, and natural beauty. 

One of the highlights of the class was our visit to Overtown Miami, where the echoes of the past re-sounded through the streets. As we strolled through this historically significant neighborhood, I gained a profound understanding of Miami’s role in the Civil Rights Movement and the contributions of the African American community to the city’s cultural mosaic. The stories shared by locals and the tangible remains of the past left an indelible mark on my consciousness, challenging prejudged conception and prompting a deeper exploration of Miami’s complex history. Specially Alberta Godfrey’s speech, it was a whole experience to listen to someone who lived the stories behind this beautiful town. 

Coconut Grove and Vizcaya Gardens offered a stark contrast, showcasing the richness and greatness of Miami’s Gilded Age. The architectural marvels that cover the gardens of Vizcaya transported me to a bygone era, a vision that leaves you inspired and contemplating the social shifts that have shaped the city’s evolution. The contrast of Coconut Grove, with its bohemian charm, provided further insight into the diversity that defines Miami’s neighborhoods, revealing a city that thrives on both tradition and innovation. Any time I would visit Coconut Grove, I would be used and familiar with the usual modern streets full of restaurants and stores. However, thanks to this visit I was able to appreciate the heart of this place. 

Our excursion to Biscayne Bay Chicken Key provided a refreshing perspective on Miami’s natural wonders. The clear beauty of the island, coupled with the delicate balance of its ecosystem, emphasized the importance of environmental preservation. This experience showed me how we should prioritize to take care and understand the nature. It was such a fun journey, since we did kayaking to the island and even though I have done it before this time was completely different. The fact that a community takes care of this island is great, since the impact is bigger when the number is higher. This day it was born a newfound appreciation for Miami’s unique geography and the need for sustainable practices to ensure the longevity of its natural treasures. 

South Beach, the stereotypical symbol of Miami’s glamorous image, gave us a glimpse into the city’s vibrant present. The various mix of art, culture, and nightlife underscored Miami’s role as a global center for creativity and expression. Deering Estate, with its historic house and large landscapes, served as a living testament to Miami’s cultural heritage. Exploring the estate’s grounds allowed me to connect with the past on a personal level, it was like having a vision of the lives of those who once inhabited this captivating area. We culminated our journey in the Everglades, which brought me face-to-face with Miami’s natural wonders. We navigated the swamps and observed the unique flora and fauna, I gained a sincere respect for the delicate balance that sustains this ecosystem. 

Looking back, this semester in Miami has transformed my perception of the city. Beyond the attractive aspect it lies a multifaceted metropolis with a rich historical background, a commitment to environmental supervising, and a dynamic cultural landscape. Miami, to me, is no longer just a tourist destination; it is a complex and evolving entity that abbreviates the essence of human resilience, creativity, and connection with the environment. As I leave this class, I carry with me a fulfilled understanding of Miami’s past, present, and the potential for its future growth and cultural vibrancy.

 Picture taken at Casa Batllo by Antoni Gaudi in Barcelona, Spain

About the Student

Jorge Lopez is a Junior at Florida International University pursuing a degree in Civil Engineering. With this degree Jorge Plans to specialize in urban design. Currently looking for experience in his field while looking to travel to the best design cities in the world to learn more about them. Jorge was born in Caracas, Venezuela, although half his family is fully Syrian, and the other half Italian and Spaniard.

Art Encounter As Text

“Love is Calling” by Yayoi Kuzama at the Perez art Museum.

“Contemporary Art In Miami“

By Jorge Lopez of FIU at Miami, Florida, September 4th, 2023

Art has been a topic that has caught my attention from an early age. I born in Caracas, Venezuela, and I have a deep appreciation for the art scene in my home country. Artists like Jesus-Rafael Soto and Carlos Cruz Diez have been major sources of inspiration for me, and some of their artworks adorn the walls of my home. However, my knowledge of the art scene in Miami is somewhat limited. I am aware that Miami is a culturally rich city, and I am eager to expand my understanding of its art scene.

Kinetic Art From Jesus-Rafael Soto

In terms of contemporary art, I do have some knowledge , especially considering that artists like Carlos Cruz-Diez, which I mentioned previously, are considered prominent figures in contemporary art, particularly due to his groundbreaking work on chromatic phenomena. I was pleasantly surprised to learn that Miami is one of the leading cities in the world for contemporary art. It makes sense, given the diverse blend of cultures and perspectives that converge in this city. This diversity undoubtedly contributes to a thriving contemporary art scene.

Chromatic Art from Carlos Cruz-Diez

I enrolled in this class to immerse myself in the rich artistic landscape that Miami has to offer. I hope this course will broaden my perspective and introduce me to new ways of thinking about art. I’m looking forward to gaining insights into the techniques employed by artists in this city and delving into the cultural nuances that make Miami’s art unique.

When it comes to what I’m most excited about visiting, I’m particularly interested in exploring local galleries. These spaces offer an intimate and authentic connection with local artists, allowing me to engage with their work, understand their inspirations, and perhaps even establish meaningful connections within the local art community. I believe that this hands-on experience will be the most enriching aspect of my art journey in Miami.

PAMM as text

Picture of me at “Love is Calling” exhibition by Yayoi Kusama at PAMM

“Yayoi Kusama’s Love is Calling”

By Jorge Lopez of FIU, Perez Art Museum of Miami, September 4, 2023.

Before Entering this exhibition, I was not impressed at all. I was not familiar with Yayoi Kusama’s creation, and what was promised as a immersive and kaleidoscopic  infinity room, seemed just like a box from the outside. Now I know it sounds dumb, the art is supposed to be inside the room, not outside. But the simple fact that the outside of the room looked so bland lowered my expectations. Once I finalled stepped inside the room, I was impressed. The exhibition was really impressive as at first I couldn’t understand how a room so small could look so big from its inside. But that is part of her art. The Infinity Rooms create an illusion of infinite space that has a profound psychological impact on viewers.

Inside the exhibition, you could hear a japanese poem written by her. Now at first I didnt give it any importance, but I knew It had to have some significance, “ the poem’s title translates to Residing in a Castle of Shed Tears in English. Exploring enduring themes including life and death, the poem poignantly expresses Kusama’s hope to spread a universal message of love through her art.” I thought this poem match perfectly with this exhibition, as it was the last one of her career; and, in a way, it resembles her struggles with mental health throughout her career. Although that can also be seen throughout her art. Her art is very repetitive, which could be seen as a representation of her own experiences and self obsession.  She also admits that her mental health inspired some of her art,

Nakajima, Izumi. “Yayoi Kusama between abstraction and pathology.” Psychoanalysis and the image: Transdisciplinary perspectives (2006): 127-160.

Another thing that I also noticed is that Yayoi Kusama’s art is very unique. I had never seen something like it before. Her art is groundbreaking, and it has a lot of cultural significance. Not only does her art  has transcended two of the most notable art movements of the late twentieth century (Pop art and minimalism), but I also believe her work empowered women in the world of art, as she pioneered in the world of art during the male-dominated 1960s. Of course, this has inspired multiple women artists to defy societal norms.

Something that I learned about this exhibition is that I should always do some research about the artist, or about the exhibition itself before or after visiting it. That way I can understand the motives behind the work, and maybe it would make me have a different perspective. I would definitely go back to “Love is Calling,” and I definity want to visit more Yayoi Kusama’s work and appreciate her art and legacy.

Norton as Text

“Pablo Picasso’s Au Cafe (At The Cafe) 1901”

By Jorge Lopez of FIU, Norton Art Museum, September 22nd 2023.

Norton Museum of Art located in West Palm Beach, Florida is like nothing I ever seen before in America. The museum houses a diverse collection of artworks that span a wide range of art styles and periods, showcasing the evolution of artistic expression over time. From the many art styles presented at the Museum, Cubism caught my attention as I was not particularly familiar to it and its rich history.

I paid close attention to the Cubism section at the museum, and I also did my own research as I was very interested. Cubism emerged in the early twentieth century and stands as one of the most influential styles in art history. Its origins are often attributed to Pablo Picasso’s groundbreaking painting “Les Demoiselles d’Avignon” in 1907, which prominently displayed elements of the Cubist style. The movement’s name, ‘Cubism,’ is believed to have originated from art critic Louis Vauxcelles, who, upon viewing Georges Braque’s paintings in 1908, described them as reducing forms to ‘geometric outlines, to cubes’ (Vauxcelles, 1908).

Cubism challenged traditional artistic conventions by breaking down objects and figures into distinct geometric planes. This approach aimed to portray the three-dimensional form of the subject while emphasizing the two-dimensional nature of the canvas, a significant departure from the European tradition of employing linear perspective to create the illusion of depth (Vauxcelles, 1908).

 At the Norton Museum of Art, I was able to observe a diverse collection of Cubist artworks, experiencing firsthand the revolutionary visual language and innovative techniques employed by the artists. The museum’s team expertly curated a range of Cubist pieces, showcasing the evolution of this influential movement and its profound impact on the art world.

The Norton Museum of Art provided an enriching environment to study and appreciate  not only the Cubist movement but also the art movements that came before and after. It is really important to also see and understand the movemements that came before as it will help you understand how art evolved into cubism, and what came after. The opportunity to engage with different types of art styles and artworks at the Norton Museum has deepened my appreciation for any type of  revolutionary art movement, leaving an indelible mark on my artistic journey.

References:

• Vauxcelles, Louis. “Salon d’Automne.” Gil Blas, 1908.
• GRIS. LE JOURNAL, 1916.

Rubell Museum as Text

Yayoi Kusama’s Narcissus Garden

By Jorge Lopez of FIU, Rubell Museum October 6th 2023

When I think of Yayoi Kusama, the image I get is often that of the immersive infinity rooms that have captured the fascination of people worldwide. However, during my visit to the Rubell Museum in Miami, I encountered an artwork that not only deepened my appreciation for Kusama’s  arts but also reshaped my understanding of her versatility as an artist: the Narcissus Garden.

The Narcissus Garden first graced the world in 1966 at the Venice Biennale. The work consists of hundreds of mirrored balls arranged on the ground, reflecting and refracting the environment around them. At the Venice Biennale, Kusama, in an unauthorized move, placed these orbs on the lawn, transforming the space into a shimmering field. Adding a touch of performance art, she even sold these spheres to visitors for two dollars each, signifying a commentary on commercialism and the art market (“Yayoi Kusama: Narcissus Garden.” MoMA).

Though it might appear at first glance as a mere aesthetic spectacle, the Narcissus Garden is a profound reflection (quite literally) on vanity, self-obsession, and the infinite regress of narcissism. The mirrored balls, with their relentless reflections, represent the incessant human desire for recognition and validation. The title of the piece itself, drawing from the Greek myth of Narcissus, underscores this narrative of self-absorption.

Experiencing this artwork at the Rubell Museum was eye-opening. I hado nly imagined Kusama within the confines of her infinity rooms. The Narcissus Garden, with its simplicity and profound meaning, stood in contrast to the complex, immersive nature of infinity rooms. It showcased Kusama’s ability to challenge both herself and her audience. The artwork held its own, not as an extension of her infinity rooms but as a distinct, piece that resonates with contemporary issues.

Kusama’s choice of mirrored balls is ingenious. On a superficial level, they draw the viewer in, much like the allure of a shiny object. But as one contemplates deeper, the balls serve as continuous reflective surfaces, making the viewer a part of the artwork. You see yourself repeated, fragmented, and dissected. It forces introspection, making one ponder their place in the vast universe and their relationship with their own self.

Yayoi Kusama’s Narcissus Garden at the Rubell Museum is a testament to the artist’s versatility and depth. While her infinity rooms are entrancing in their own right, the Narcissus Garden provides a different, more grounded perspective on Kusama’s artistic narrative. It serves as a reminder that art is not just about beauty or complexity; it’s about connecting, reflecting, and challenging.

References

“Yayoi Kusama: Narcissus Garden.” MoMA, The Museum of Modern Art, www.moma.org. Accessed 15 Oct. 2023.

Margulies Collection/ Locust Project as Text

George Segal. Depression Breadline, 1991. Margulies Collection.

By Jorge Lopez of FIU, Margulies Collection, October 20th 2023

On my recent visit to the Margulies Collection, I was particularly drawn to the works of George Segal. Segal’s art, with its life-size figures, creates a unique experience, blending realism with an almost abstraction. 

Segal’s innovation in the art world is unique for his use of plaster casts to create life-size sculptures. As mentioned by the Guggenheim Museum, this technique was inspired by an unusual encounter with medical bandages. Segal’s discovery, initially an experiment, transformed into a signature method, employing the gauze and plaster bandages to cast full-body sculptures of his close ones (“Guggenheim Museum”).

During my visit, the realism of these sculptures struck me. Segal’s ability to capture the essence of the human form, frozen in time, creates a sense of vulnerability. The sculptures, often juxtaposed with urban objects, create a contrast that is both jarring and thought-provoking. The white surfaces, occasionally interrupted by bright colors, add another dimension to the story Segal tells within each piece.

The Margulies Collection also highlighted Segal’s significant contribution to the Franklin Delano Roosevelt Memorial in Washington D.C. Segal’s three scenes – Rural Couple, Fireside Chat, and Depression Breadline – are great representations of the Great Depression era in the United States (“The Margulies Collection”). The commission, fraught with political and monetary controversies, was finally realized in 1997, symbolizing not just artistic achievement but also historical acknowledgment. 

Segal’s sculptures, particularly those at the Roosevelt Memorial, are more than mere representations of historical figures; they are embodiments of an era. The engraved words of Franklin Delano Roosevelt next to the Depression Breadline, “I see one-third of a nation ill-housed, ill-clad, ill-nourished,” resonate deeply with the sculptural narrative created by Segal (“The Margulies Collection”). These words, remind us of the struggles of the past and the continuous journey towards progress and equality.

George Segal’s plaster cast sculptures are not just artistic expressions but are powerful historical narratives captured in plaster. My visit to the Margulies Collection has deepened my appreciation for Segal’s work and its significance in capturing the human experience. Through his sculptures, Segal provides a window into moments of history, personal experiences, and the broader human condition, leaving a lasting impression on all who view his work.

Works Cited:

“Guggenheim Museum.” Guggenheim. 

“The Margulies Collection.” The Margulies Collection at the Warehouse.

Wolfsonian As text

By Jorge Lopez of FIU, Wolfsonian Museum,  November 3rd 2023

Reflecting on my recent visit to the FIU Wolfsonian Museum. I am drawn to explore not only the fascinating history of this cultural institution but also its remarkable collection of Art Deco artifacts. This reflection will delve into the origins and significance of the Wolfsonian Museum and how its Art Deco collection provides a vivid window into a past era, embodying both artistic and historical narratives.

The Wolfsonian Museum, a part of Florida International University, stands as a testament to the power of art and design in shaping societal perspectives and historical contexts. Founded by philanthropist and collector Mitchell Wolfson Jr., the museum opened its doors in 1995. It houses an extensive collection of art and design objects from the period 1850 to 1950, showcasing the impact of industrialization and the interwar period on visual and decorative arts. The museum’s collection, featuring over 180,000 items, includes furniture, paintings, books, sculptures, and industrial design objects, making it a treasure trove of modern art and history.

My visit to the Wolfsonian was particularly enlightening in understanding the depth and diversity of Art Deco. The museum’s exhibits displayed a range of objects from this era, including furniture, ornate sculptures, and posters. Each piece told a story of the past, illustrating the societal shift towards modernity and the fusion of function and aesthetics in design. The Art Deco objects in the Wolfsonian collection not only showcased artistic excellence but also mirrored the social and cultural trends of their time, from the Roaring Twenties to the Great Depression.

What struck me most was how the Art Deco artifacts at the Wolfsonian encapsulated a moment in history where art and life intersected seamlessly. Art Deco was not just an artistic movement; it was a lifestyle, influencing everything from architecture and fashion to everyday household items. The Wolfsonian Museum, through its Art Deco collection, illustrates how this style permeated all aspects of life, symbolizing a period of innovation and change.

My visit to the FIU Wolfsonian Museum was a journey through time, with Art Deco serving as a vibrant lens to view the past. The museum, with its rich collection and historical significance, offers invaluable insights into the ways art and design reflect and shape human experiences. The Art Deco artifacts, in particular, stand as a testament to a transformative era in history, characterized by its bold experimentation and forward-looking ethos. This experience has not only deepened my appreciation for Art Deco but also for the role museums like the Wolfsonian play in preserving and interpreting our cultural heritage.

Frost as Text

By Jorge Lopez of FIU, Frost Art Museum,  November 29th 2023

Alexander Liberman. Argosy, 1980. Florida International University, Gift of the Martin Z. Margulies Family Collection.

Visiting the Frost Art Museum left a lasting impression on me. The museum’s focus on rotating temporary exhibitions ensures that each visit is a unique encounter with the world of art, reflecting the diverse cultural tapestry of Miami. The opportunity to explore art from various artists worldwide, as well as local talent, is both educational and inspiring.

One exhibition that particularly captivated me was Alexander Liberman’s “Argosy,” dating back to 1980. This sculpture, generously donated by Martin Z. Margulies from the Margulies Collection, stands as a testament to Liberman’s colorful and unconventional life journey. Born in Russia and facing the challenges of emigration due to his family’s anti-Bolshevik views, Liberman’s early life was marked by displacement and adaptation. His artistic journey, which began in the bustling creative milieu of Paris, took a significant turn when he and his wife fled to New York to escape the German invasion during World War II.

In New York, Liberman’s career flourished, first at Vogue and later as a prominent figure in the New York art world. His work in the 1960s, which included exploring with junk metal and tank parts, marked his foray into sculpture, culminating in large-scale public works. “Argosy” is an embodiment of his minimalist approach, reflecting his fascination with American industrialization and modernization. The sculpture’s bold red steel structure is both a visual marvel and a thought-provoking piece, inviting reflections on the nature of industrial materials transformed into art.

Liberman’s work, particularly “Argosy,” holds significant importance in the art world. It not only represents the innovative spirit of minimalist art but also tells a story of cultural and historical transitions. His ability to transform industrial materials into aesthetic forms challenges traditional notions of art and beauty. Moreover, as a public art piece, it democratizes the experience of art, making it accessible to a broader audience beyond the confines of galleries and museums.

Art pieces like “Argosy” play a crucial role in our society. They act as physical embodiments of cultural narratives, personal histories, and artistic evolution. They challenge viewers to reconsider their perceptions of art and its role in public spaces. Moreover, such works often become landmarks, contributing to the cultural and aesthetic landscape of the communities they inhabit.

My visit to the Frost Art Museum and the encounter with Alexander Liberman’s “Argosy” was more than just an educational trip; it was a journey through the diverse realms of artistic expression. 

References:

Frost Art Museum FIU, Bailly Lectures

Art Final Reflection as Text

Yayoi Kusama’s Narcissus Garden and Yayoi Kusama’s “Love is Calling”

By Jorge Lopez of FIU, Art Final Reflection, December 10th 2023

Reflecting on my journey through the semester-long art class, I find myself profoundly transformed in my understanding and appreciation of art. Before embarking on this journey, my knowledge of art was superficial at best. However, the unique approach of this course, which involved immersive experiences at various local museums and art exhibitions, has deeply enriched my perspective.

Visiting esteemed institutions like the Frost Museum of Art, Wolfsonian Museum, Margulies Collection, Rubell Museum, De La Cruz Collection, Norton Art Museum, and Perez Art Museum provided a tangible connection to the world of art. Each museum visit was not just a tour; it was an in-depth exploration of different art forms, styles, and historical contexts. This hands-on learning experience made art more accessible and relatable to me.

One of the most significant revelations was understanding the depth and significance of art. I learned that art is not just about aesthetic pleasure or technical skill; it’s a profound means of communication and expression that transcends time and culture. It can convey emotions, ideas, and narratives that words often fail to express. This realization came to life most vividly in the infinity rooms by Yayoi Kusama. These immersive installations were not just visually stunning; they were an exploration of the concept of infinity and the artist’s unique perception of the universe. It was a powerful demonstration of how art can evoke deep emotional responses and provoke thought.

Additionally, this course has given me a new appreciation for the craft of art. Witnessing the diverse range of techniques and materials used by various artists broadened my understanding of what art can be. It challenged my preconceptions and pushed me to think more creatively and openly about art and its possibilities.

This art class has been more than an academic requirement; it has been a journey of discovery. I now view art not just as a spectator but as an engaged participant who appreciates the depth and breadth of what art represents. This course has not only educated me about art but has also enriched my understanding of the world and myself.

Maria Matos is a Freshman at FIU currently studying International Relations. In the future she plans on pursuing a mastery in Cybersecurity and traveling as much as possible. While raised in Miami, Florida, she was born in the Dominican Republic and lived there for a few years before moving. In her free time she enjoys listening to music, writing, and learning about history.

Art Encounter as Text

“Unjudging Art”

By Maria Matos of FIU, August 31, 2023

There are no uninteresting things, only uninterested people.

G.K. Chesterson

If you ask me, being ignorant is one of the worst things a person can be. But I’ll be the first to admit that I’m wholly ignorant of the contemporary art scene, especially in Miami. As someone who while not born in, was raised here, I am almost ashamed to say that very rarely do I find myself in an art museum or exhibit of my own accord. Sure, I can drive through Wynwood and see the graffiti on buildings and funky designs and acknowledge it’s referred to as the art district, but never have I truly stopped to soak in and admire the art surrounding me beyond the first glance. When I think of Miami all that comes to mind are the beaches, insane drivers, and expensive restaurants I won’t be visiting in any near future. That there is such a vibrant and lively art scene in this young city that I have yet to explore makes me feel almost irresponsible for having a superficial view of Miami. To me, this class is an opportunity to get to know and experience the art in Miami in a way that I would probably never set out to do on my own.

Throughout nearly my whole life, art was something that in my mind had stopped being valuable by the time Picasso’s Cubism movement came to life. For me, true art lay in the notes of Handel that I would play in orchestra class or the paintings of Rembrandt. Never would I consider the works of Warhol, Taylor Swift, or even Duchamp “Real” art. But with time and age, I came to realize that the value of art did not come with its antiquity (though I still really dislike Duchamp). What I had, beyond youthful ignorance and arrogance, was a lack of understanding of art. Nevermind that I had yet to research it, I had also not truly experienced art (contemporary or otherwise) in any meaningful way. Museum visits would be more of a walk-through than a thoughtful study and analysis of any exhibits. Actually viewing the pieces felt more like a fight to muster up the emotions that I wasn’t feeling (but felt like I should have been) rather than appreciating what I was seeing. The more I grow the more I come to realize that the awe I felt toward what I thought was art was nothing more than an interest in its history, and the effort that it took to create. Today, I know that the Mona Lisa isn’t any more or less valuable to me than anything Pollock created. While that is an improvement from my former way of interacting with art, this is because both of those make me feel Nothing. Ultimately, I feel like art is supposed to make you feel Something. So that’s what I hope to tackle in this class. Finding art that I can genuinely enjoy, or maybe even revisiting art I’ve already seen and finding the ‘Something’ in it that I might have missed.

All I truly expect from this class is the chance to become a more cultured and open-minded person. Like I said, while I’ve come a long way from the pseudo-art-snob of my childhood, contemporary art is not something I’ve ever really given a chance. The gap between art and I is something I believe has to be bridged through my own self-reflection and efforts, not something that can happen spontaneously through exposure to said art. I’m most excited to go to the Perez Art Museum, because it’s another one of those things that I’ve never visited despite being a Miami native. So hopefully throughout this course I can learn more about art, artists in Miami, and most importantly myself.

PAMM As Text

“Ego of man”

By Maria Matos of FIU, September 09, 2023

At the PAMM visit last Friday, my amazement began way before we even made it to the first piece. While I know my knowledge of contemporary art is limited, my expectations for the day were still to walk around staring at frames on a wall, “ooh”-ing and “aah”-ing as a group. Those expectations were immediately blown apart, crushed, and then tap-danced on for good measure when we were brought to a pool and told that it was the first stop. Immediately I felt a little foolish (and it would not be the only time that day) for thinking that this would be an art museum visit like the ones I was used to. I was surprised that the pool I had walked past when I first arrived was more than what it seemed. More than anything I was glad, because like I said in my last post, I had never truly experienced art, and now was my chance.

The rest of the day was spent exploring Leandro Erlich’s ‘LIMINAL’ exhibition, in which he delves into concepts like human mortality and evolution through the use of illusions and empty space. Throughout the course of viewing, we were confronted with seemingly everyday scenarios, but each one had a twist. What looked like an elevator would really be a room leading to nowhere, or a barbershop with mirrors that didn’t reflect. With each impossible situation I was confronted with, I slowly started to question more and more my brain’s ability to decipher reality from fantasy. This constant interaction with liminality excited and confused me as it was my first time ever becoming part of art pieces like this, and I finally began to understand what contemporary art was all about.

Beyond Elrich’s exploration of liminal spaces though, there was a message that formed before me regarding the capability and ego of man. It first came to me when we came to the first surveillance piece; an array of cameras recording an empty waiting room. Our guide commented on the piece’s connection to the digital age we live in, and the amount of surveillance we constantly put ourselves through. Our devices listen to what we say, we follow others online, and we are constantly under watch. But standing there staring at the blank cameras a heady feeling of what I can only describe as omnipotence came over me. But I wasn’t the omnipotent one, I was only adjacent to it, and it felt perverse rather than something I could luxuriate in. In those pieces, I saw how far we had come technologically, and how in some ways it could make us feel like as humans (at least in a first-world country) we had total control over our lives and the world as a whole. However, that didn’t change the fact that we are still mortal. The swimming pool reminds us of this by creating an experience that can turn from whimsical (the illusion of being inside the pool and breathing underwater) to claustrophobic and deadly (the realization that if it were an actual pool, we would drown). An elevator dropping unexpectedly and endlessly another morbid nod to our mortality. While the surveillance cameras were another feat of human ingenuity, the fact that the waiting room was empty made the scene slightly creepy. The people went, but everything else stayed. The reality that the world and everything we’ve created in it will remain even after we’ve gone is not an easy pill to swallow. 

With this motif being followed in my thought process, my favorite piece was The Clouds. The idea that man can hold nature under his thumb enough as to enclose clouds within glass cases is laughable, yet Erlich made it possible through the power of illusion. Being presented with this image made me ponder our innate arrogance as people, and how in some ways we do think we are beyond forces far stronger than us. Ultimately, experiencing the Liminal exhibition was fun and incredibly thought-provoking. Both in being fooled by the illusions and in looking into the messages I found within the illusions themselves, the reminder of my humanity and the naivete of my brain was a welcome experience.

Norton As Text

_{“Purity” by Barry X Ball, Photograph taken by Maria Matos at Norton Museum of Art (West Palm Beach, Florida 2023)/ CC by 4.0}

“BENDING AND BUILDING TRADITION”

By Maria Matos of FIU, October 05, 2023

The trip to the Norton Museum of Art felt much more like what comes to mind when I think of an art museum. Unlike our trip to PAMM, this visit was less interactive and more focused on ‘traditional’ canvas art. However, this fact did not diminish the experience. Had I gone on my own, I might have walked around aimlessly for hours, not fully appreciating the immense amount of culture and history surrounding me—two things I value deeply. With the aid and commentary of my extremely knowledgeable guide (Professor Bailly) I learned more about art history and its development in three hours than I had in my 18 years of life.

What I learned as we went through the pieces in the chronological order of which their movement came about was not necessarily information completely unknown to me. That visual art (at least in the west) was something made almost exclusively for the Church, and later the elites of society was something I was aware of. That then something called the “Renaissance” occurred, and suddenly 500 years later Andy Warhol was gaining renown for Campbell soup cans! That was my view of art history, and despite having many many gaps, was not necessarily incorrect. What was incorrect was my dismissal of movements and works created before and after the Renaissance period. Being able to not just hear or read about the developments of the art world, but to see it with my own eyes—how the introduction of detail, light, and color was a direct effect and reflection of the cultural changes of the time. How a different subject or a different technique on how to lay paint down on a canvas echoed the evolving morale of people. Witnessing this in real time gave me a deeper appreciation and understanding that I had lacked before. I now know that a fourteenth-century painting (like the Madonna and Child in Majesty that I saw at this museum) doesn’t look that way just because it’s from the Middle Ages and things are ‘ugly just because.’ I can recognize that concepts I had studied extensively in previous history or ethics classes, like humanism, contributed heavily not just to changing the values of people in society, but also to how those values were translated onto a canvas.

Throughout the tour it felt like I was taking a trip through time, and once again, I was fascinated to see how some of my favorite works came to be. It was a constant repeating tale of artists breaking the mold time and time again to create iconic masterpieces that we adore so much today. And even though I had the opportunity to witness the works of one of my favorite painters in the flesh (Claude Monet), by the end it was not a painting that had stuck out to me, but a sculpture. “Purity” by Barry X Ball, pictured above, is a beautiful sculpture of a veiled woman. To me it resembles those ancient Grecian statues, with the way the stone ‘falls’ and the talent it takes to create that faux sense of softness. But it was a huge surprise to me once I looked it up and found out it was not sculpted through the work of a calloused human hand, but by a machine: “Created between 2008 and 2011, “Purity” by Barry X Ball was actually sculpted using computer numerical control (or CNC) machining. This means that the bust was digitally designed and then programmed into a computer to be cut by machine” (Norton Museum FB Page). The post goes on to say how incredible it is that the sculpture still seems so delicate, and I would have to agree. The piece served as a final reminder to me to reconsider the way in which I consumed art. Here was a combination of modern technology and an art form considered to be more ‘ancient’ or ‘traditional’ being used to create something amazing.  Art constantly evolves, and to be able to continually witness the new ways in which people redefine what it means to be an artist and create art is something that this visit truly made me appreciate. 

Works Cited: https://www.facebook.com/nortonmuseumofart/posts/this-bust-has-a-secret-it-isnt-roman-it-wasnt-even-made-in-the-19th-century-its-/10159839934593535/

Rubell/De La Cruz As Text

_{“Bird on Money” by Jean-Michel Basquiat, Photograph taken by Maria Matos at the Rubell Museum (Allapattah, Florida 2023)/ CC by 4.0}

We are tryin’ hard to get your attention
I’m climbin’ up your wall

The Strokes, ‘The Adults Are Talking’

“THE NEW ABNORMAL”

By Maria Matos of FIU, October 14, 2023

Unlike the last two museums we have gone to, I didn’t know what to expect from the Rubell at all. Unlike PAMM (which I had heard of) and Norton (which due to the long trip had looked up what’s inside), I knew nothing of who were the Rubells or what awaited me at their collection. So it was extremely surprising to me when we turned a corner and on the far wall hung a painting that I had seen before. It was the album cover for The Strokes’ “The New Abnormal”- or as it actually was called “Bird on Money” by Basquiat. While this wasn’t necessarily the most impactful piece I saw at first, as time went on and the class became more acquainted with the museum a clear message combining the painting, the Rubbell’s purpose, and my love for The Strokes rang clear in my mind. 

What I really appreciated about the Rubell’s collection (according to both what I saw myself and what it says on their website) was the dedication to showcase the work of artists (usually “unknown”) that want to bring attention to social issues. As someone who is very passionate about all  things social/cultural awareness and dialogue, this was impressive to me and made me appreciate all of the art as well as the effort put into curating the collection even more. Due to the backgrounds of all the artists, alot of the themes I saw across the pieces centered around racial identity, economic inequality, gender identity, and the loss/change of relationships. Karon Davis for example is an artist that I really came to admire, as her Family sculpture really resonated with me. While seemingly simple at a glance, the realization that this family is represented as prey in society for the single fact of being black is a stunning one. It opens an avenue for discussions on what it means to be African-American in the United States and how these various nuanced issues can be expressed through art. 

A similar avenue opened in my mind when viewing Basquiat’s “Bird on Money”. Despite the painting itself being made to honor jazz musician Charlie Parker, several elements in the painting and the association I make between it and “The Adults Are Talking” by The Strokes made me think of the painting as an allegory for a stagnant society and unheard youth, just as the song is. The loud colors and jagged lines across the canvas serve the reference to the improvised notes and changing rhythms of jazz music. At the same time, I felt it evoked the staggering feelings that accompany being a youth and wanting to make a difference, but being forced into conformity by those older than you. 

Overall, the visit to the Rubell collection made me feel more aware of the contemporary art work. Unlike the Norton, the pieces and artists displayed here weren’t ‘history’, but potential greats in what the art world can become. 

Margulies/Locust Projects As Text

_{“Eyes of the Skin” by Jen Clay, Photograph taken by Maria Matos at the Locust Projects (Wynwood , Florida 2023)/ CC by 4.0}

“DELICATE ABRASIONS”

By Maria Matos of FIU, December 08, 2023

If I’m honest, the visit to the Margulies collection didn’t really leave as big an impression on me as our previous visits have. While I could tell the collection itself was very expansive and impressive, there was not really something that I saw that really resonated with me or made me go ‘wow!’. Marguiles’ charity work made me appreciate alot of the work in principle, as it made me see the art world as something that could have a broader positive impact beyond just the installations and exhibits. Rather than just being this ‘closed practice’ for those that have the economic ability to curate and collect, it realized the fact that the art world helps create spaces for charity and conversations on social issues. The works there concerning the Holocaust and its victims come to mind when I say this, as the terrible event is one that people constantly try to downplay and forget. Having art be made about it brings a deep awareness of not just the facts surrounding the event but also the raw emotions we should all feel as we recall it.

The visit to the Locust Projects was surprisingly my favorite of the day. I went in not expecting much, but the work there resonated with me more than anything I had seen so far. It was my first time meeting the artist, and getting to know Jen Clay and her work was an amazing experience. The environment that she created to showcase her work was so expertly done, and perfectly encapsulated and conveyed the theme that she wanted it to. It was ‘Eyes of the Skin’ and it centered around the difficulty of living with mental illness. Clay offerred an interactive experience via game, which is something I had never seen done before- it was not something that had even crossed my mind as being art. But the slightly spooky music and visuals combined with the softness and comfort offered by the textiles in the room juxtaposed created such an emotionally moving experience that there was no way I could call it anything other than pure art. 

The game takes you through a forest in which you encounter a monster- the personification of mental illness, or perhaps an abusive relationship- and depending on your choices, you either successfully escape or succumb to ‘being clawed’. The game is almost childish in how it is played (a simple visual novel) and it differs greatly from the dark subject matter lying beneath the surface. As someone who also deals with mental hardships, the game made me feel seen. It also perfectly captured what it feels like to live in that way; feeling lost in your own headspace, not knowing how to help yourself even with ‘escape’ from this forest being so close yet so out of reach. All of it- from the colorful quilts to the soft textures- come together to make a truly horrifying and artful experience. Apart from this, I truly appreciated how committed the space seemed to cultivating the imagination and development of local artists.

Frost As Text

_{“Le Tour” by Kim MacConnel, Photograph taken by Maria Matos at the Patricia and Phillip Frost Art Museum (Tamiami, Florida 2023)/ CC by 4.0}

“NEAR AND FAR”

By Maria Matos of FIU, December 10, 2023

Being completely honest, what shocked me the most about the visit to the Frost Museum was how close it has been to me the entire time. While this is a motif in the realizations I’ve had throughout the course, unlike the other museums that required over an hour of driving, this one was a simple 10-minute walk away from the classes I attend every day. If there was a moment where I realized my own ignorance concerning art, it was this one.

Like the Rubell, the Frost does an incredible job showcasing and giving a platform to local artists. The piece that stood out to me the most was this quilted one by Kim MacConnel. I know from an elementary school history class the cultural importance that quilting holds for many people. It’s a means of preserving culture, making use of material, and passing down history for future generations. This piece in particular appeals to me because of the different patterns utilized to create that, while customary in quilting, are unified in a way that I find representative of the cultural blending that we are experiencing in our current increasingly globalized world. Each fabric is loud and eye-catching in its own way, yet the patterns blend seamlessly into one another as if it were one unit. Even the icons pictured across it, like the Eiffel Tower, nod to multiculturalism. As an immigrant (especially living in Miami), I relate a lot to this concept, as I hold my own national identity yet am separated into this culture in South Florida, unique in that it’s a blend of different cultures from around the globe merging into one. This quilt becomes a visual metaphor for the multicultural tapestry of Miami, where diverse elements combine into a harmonious unit, much like the patterns interwoven in the quilt. It’s a reminder of the beauty that is created when different cultural threads are woven together, creating a fabric that tells a rich and complex story.

Art Final Reflection As Text

Mariacamila Ospina of FIU in front of Mariano Salvador Maella’s “The Fall of the Rebel Angels”, Photographed by Maria Matos at the Norton Museum of Art (West Palm Beach, Florida 2023)/ CC by 4.0

“UNTITLED”

By Maria Matos of FIU, December 10, 2023

As the semester closes and I look back at all the art I have seen in the past 2 months, I realize that while I know more than I did before about the art world, I have a long way to go. And honestly, I might never fully understand the world of art. I’d like to think that I’ve shaken my prejudices concerning what I consider art, but even still I sometimes find myself looking at a piece or installation and thinking the classic “I could’ve done that” or “This isn’t real art”. Still, the things I’ve experienced and enjoyed throughout the course of this class have planted the seed of curiosity within me to continue growing and exploring my city for the rich contemporary art it possesses. I had allowed myself to think of contemporary art as something only pursued by ‘rich kids’ who didn’t have to focus on work, who could idle and create ‘art’ that was just them exploring newfound social concepts that those in a lower tax bracket had to live daily. I had unknowingly indoctrinated and blinded myself to the countless under-recognized artists all over the world who created works that spoke to their existence, and who broke the mold on what art could be. Living in Miami, as I said in my first reflection, I thought this to be only a city of vice as it is so often referred to. But having experienced so many emotions, and seeing so many different parts of Miami that I had been oblivious to has made me realize how much I was missing out on. But now I can be a guide to others as Professor Bailly was to me, and hopefully I can encourage those around me to explore and discover the rich history and culture in our own backyard.

The final visit to the Untitled art fair is what really cemented this for me. Seeing the art in person obviously helped set me on this journey, but seeing the artists in the flesh, and being surrounded by people united in their love and appreciation for art made it truly Real for me. Ultimately, I can say I reached my goal of becoming a more open-minded and cultured person. While I would not be able to recall exact names of artists and their work, I know that they’re out there and to me, that’s definitely an improvement. All I have to do now is go out there and find more. 

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Sebastian Caballero is a Freshman at Florida International University pursuing a degree in Computer Engineering. He was born in Santiago de Cuba and moved to Miami at the age of nine years old. In the near future, he will be traveling around the world, learning and experiencing the immense diversity and wonders of our planet. He is passionate about technology, the cosmos, nature, history, working out, and various sports like martial arts and soccer. He aspires to create a positive and lasting impact on the Earth.

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Art Encounter as Text

“Tropical Crucible”

by Sebastian Caballero of FIU, September 1st, 2023

I’ve lived in Miami for eight years, but I’ve yet to explore its art culture deeply. I’ve visited many art museums and fantastic places like Vizcaya and the Holocaust Memorial in Miami Beach. I’ve traveled Downtown and taken pictures of the crazy-looking buildings that look like they can fall from a single sneeze. I’ve gone to beautiful nature areas like parks, zoos, and botanical gardens. But despite all this, I am unable to recall the name of a single prominent Miami artist or known artwork. If I like something, I might take a picture of it to show to my friends, but most likely, I will not go out of my way to learn much about it.

However, I know one thing for certain. The city is a giant crucible where art and culture from different eras and parts of the world fuse together. Taking a trip around Coral Gables shows you the diversity from mansion to mansion, some exhibiting modern aspects, others focusing on Spanish colonial architecture, while many take inspiration from Greco-Roman design. In terms of paintings, many pieces I’ve experienced were composed of simple shapes and colors that require a lot of thought to discover their meaning. Others show extraordinary realism to the point you can imagine yourself in the world of the piece. You can even travel to small museums, such as Artechhouse, that display pieces that incorporate modern technology into artwork. It is impossible to sum all these things under one category, culture, or period of time. It is incredible to be surrounded by such diversity.

However, my knowledge of contemporary art is minimal, but I understand that it’s not composed of a single specific style but rather multiple put together to create paintings, sculptures, music, and film, much like Miami. The world of art is always evolving, something I’ve learned through the Internet and previous art courses. We classify many periods of art by their specific style, like the Renaissance, Baroque, and Rococo periods. However, when I think of contemporary art, I think about abstract and minimalist paintings of geometry or random colors on people’s walls and surrealistic pieces that give me goosebumps at the same time. There is no single style of music or film followed by everyone, nor a period-defining art style.

My desire to learn about cultures from all over the globe, and especially my home, led me to enroll in the class. I’ve always been curious about the way the world works, asking questions like how a country’s past can shape its present, why people follow certain traditions, what pop culture might look like in different areas, and many more. These are all things I expect to learn by discovering the extensive world of artwork in Miami in this class. I expect to be able to travel to many centers of art that display collections from all sorts of people. I also want to gain the courage to start drawing often, a feeling that comes to me randomly but then leaves to not come back for a while. I hope that my love for art is extended to the point that I become committed to learning how to draw things from my imagination that I know are impossible to do in my current experience. I want this opportunity to open new doors to express myself.

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PAMM as Text

A collection of pieces from the PAMM, photographs by Sebastian Caballero (CC BY 4.0)

“Portals to New Worlds”

by Sebastian Caballero of FIU, September 10th, 2023

I understood that the world of art went beyond paintings and sculptures, but never to the extent after visiting the Perez Art Museum Miami, especially Leandro Erlich’s “Liminal” Exposition and Yayoi Kusama’s “Love is Calling.” I’ve seen many videos of pieces like the ones shown at the exhibitions, intrigued by what I saw. However, experiencing it in person is a totally different feeling.

I never thought of art as an interactive journey. When I see a painting, I can picture myself inside its world, watching the behavior of the environment and the interaction between the figures and objects. However, when I’m literally put in the artwork, I can go beyond just imaging. I can use more senses; I can hear, touch, and look in all directions. The entrance to pieces such as “Swimming Pool” and “Classroom” are like the portals in cartoons that suck the characters into paintings. You can look around and feel the change from the physical world and the world created by the artist. “The Room” displays a video of a room that makes it seem like there are holes in the wall, each with the same office. “The View” allowed you to look through a blind and see the lives of random people, much like looking through your apartment window and seeing inside your neighbors’ homes. An elevator next to the museum’s entrance is not real but confuses you due to the similarities to a real one and all buttons being pressable. All these works, and the rest, made me realize that art can go beyond vision and imagination. It can create small surroundings that transfer the energy from imagining a scenario to experiencing it.

But this interactive journey is not just visually spectacular, but also one that can convey very realistic feelings in the mind. Inside “Swimming Pool,” I looked at the ceiling separating the water and pool and got a sense of being lost in the ocean. It was the feeling I thought one might get when they are lost at sea and have no more energy to keep themselves afloat; you may try your hardest to reach the surface, but your body fails to respond, something different from what my classmates were experiencing. Similarly, the infinity mirror room of “Love is Calling” created a sense of being under the ocean surrounded by thousands of weird algae. But somehow, the music and lighting did not evoke a sense of terror, but rather one of peace and calmness, as if I was floating and my whole body was relaxed. While walking from piece to piece, I started getting a feeling of being trapped. I kept on looking at these elevators that led to nowhere, rooms that I could see but couldn’t enter, windows that showed the outside but were inaccessible, and mazes that made you think before bumping into a dead end. It was almost as if there were a million possibilities of entering new places or leaving altogether.

Overall, this experience was wonderful. Despite all the weird emotions it gave me, the exhibitions were truly enjoyable and memorable. It created a new sense of perspective on art. I now see it as an opportunity for artists to create their own worlds, a possibility to innovate and express oneself beyond the elements that have been used for years, and a chance for the audience to feel things they can’t get with just their imagination.

Sources:

https://www.pamm.org/en/event/member-preview-leandro-erlich-liminal/

https://www.pamm.org/en/exhibition/yayoi-kusama-love-is-calling/

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Norton as Text

“Rapid Evolution”

by Sebastian Caballero of FIU, October 1st, 2023

The Norton Museum of Art has been the best representation of artistic evolution I’ve experienced. I was fascinated by the number of artifacts, paintings, statues, and other artworks the building had to offer. The visit was much like watching a documentary that took you step by step through the changing art styles, subject matter, colors, and techniques from the last millennia.

From the Gothic, Renaissance, and Baroque periods, we can feel the heavy focus on depictions of biblical figures. Various paintings displayed the Virgin Mary with Jesus in her hands. But regardless of similar subjects, each piece couldn’t look more different from each other. Although identifiable, the Gothic Virgin Mary and Christ look far from human. However, walking chronologically, we see their depictions slowly look more human than the last. In Giordano’s 1657 “The Immaculate Conception,” the painting looks much like a photograph from a movie scene, with very realistic figures, dramatic poses, and a heavenly feel. This section is perfect for showing how different eras of art can depict the same matter differently.

From the 18th century, art began showing the world outside religion. It is here that I began to think about the importance of photography. In the modern age, humans have a photographic record of almost everything and everyone we see. However, before the camera, this could only be accomplished by depicting these things in other forms, such as art. Folks with money took an interest in purchasing artwork and displaying it in their house more often. If you had enough bank, you could pay an artist so that your image lives on until the end of humanity. Paintings began to show landscapes, non-Christian figures, structures, fruits, flowers, etc.

However, at the beginning, techniques evolved, and people mastered lighting, shading, reflections, and other aspects, but never seemed to go too far from realism. Once you explore the first floor of the Norton, things begin to change. Paintings of the Impressionist Era, such as Monet’s “Nymphéas” saw a movement away from detail to capture the overall feel of the image. We started to see a rise in abstract art that depicted the images of the mind rather than the real world. During cubism, paintings began to break perspective, displaying different points of view in a single image. These eras accomplished something that not even modern cameras could: capture the feelings and imagination of the artist. Now, artists printed whatever was on their minds.

The Norton Museum of Art opened new ways for me to see art. Much like the real world, art has evolved fast. Just a century ago, TVs were unheard of and there was no real evidence that smoking was unhealthy. Nowadays, most people have a phone and scientists can cure deadly diseases that killed millions of decades ago. Before the mid-19th century, art evolved at a slow pace. However, after this period, art constantly diverged, creating branches within branches that continue to grow until this day. If you search for modern artwork on the Internet, it is highly unlikely that two pieces would look the same.

Sources:

https://baillylectures.com/miami/norton-museum-of-art/

https://artincontext.org/art-periods/

https://www.norton.org/exhibitions/special-guest-beaching-the-boat-afternoon-light-a-masterpiece-by-joaquin-sorolla-y-bastida

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de la Cruz / Rubell as Text

A collection of pieces from the Rubell, photographs by Sebastian Caballero (CC BY 4.0)

“A Galaxy of Ideas”

by Sebastian Caballero of FIU, October 14^th, 2023

The diversity of the modern art world is heavily shown by the Rubell Museum. There’s no singular central theme or style that is shared between the different rooms of the building. Walking around, it was impossible to predict what was past the next doorway.

Take Urs Fischer’s 2006 Branches, which is composed of two aluminum branches that spin while leaving candle wax behind, never crossing paths, which represents the idea of two people meant to be lovers who live their entire lives never meeting. Karon Davis’s plaster amalgamations are great a depicting the vulnerability of black families through its use of facial and physical expression and antlers that give a sense they can be hunted. Anselm Kiefer’s 2006 Untitled charcoal piece depicts a barren field covered in ash with real empty chairs and dry branches in the front. As you take steps back from it, you start to see the bigger picture and feel the sense of devastation Kiefer conveys about the tragedies brought upon the Jews and many people during WWII. All these are works that couldn’t be more different from each other, but all are effective at conveying their profound message or story.

Alexandre Diop creates his artwork by using recycled objects and materials that are collected, put together, and painted to create a big picture. His pieces are enormous. From far away, you can see the subjects interacting with each other and their environment. From up close, you can see anything from street signs, to cushions, and pieces of wood. This style caught my attention as I’ve studied recycling heavily in the past, and this is a great example of how trash can be molded to become something beautiful.

A recall from the past is the infinity rooms of Yayoi Kusama. The first one was dark and had small lights that reflected off the mirrors hundreds of times, creating a sense that you were standing in the middle of space looking at the millions of stars surrounding you. If it contained a zero-gravity contraption, I would have probably stayed there the entire time. The other room contained many metal balls which gave a sense you were looking at the nucleus of an atom with its protons and neutrons. Looking through the peephole in the room, you could see millions of these balls that made me think of how awesome it could be to shrink in size, go inside, and start jumping from one to the other. As mentioned before, walking inside these rooms was like entering a portal into a whole different dimension.

The Rubell is the best representation of contemporary art I’ve yet to experience. It has shown me that there are a million possibilities to portray an idea through artwork. Artists not only reshape methods previously used in the past, but also come up with completely new ways to create their pieces. There’s a style for everyone in the modern age.

Sources:

https://www.instagram.com/rubellmuseum/

https://hammer.ucla.edu/exhibitions/2023/karon-davis-selections-hammer-contemporary-collection#:~:text=Drawing%20on%20her%20background%20in,well%20as%20her%20own%20body.

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Margulies / Locust as Text

A collection of pieces from the Margulies, photographs by Sebastian Caballero (CC BY 4.0)

“Frozen in Time”

by Sebastian Caballero of FIU, October 29^th, 2023

Entering the Margulies, I felt transported inside the space of someone who loved collecting random pieces of urban architecture. Four benches, three with plastered humans, and one bench open for the audience. A storefront with a plastered lady relaxing by a TV with a Budweiser neon sign in the storefront. A plastered kid possibly commuting to school via train. Plastered gentlemen who seemed to line up to collect their paychecks from their industrial jobs. It was almost as if arbitrary moments from the past were frozen in time and taken inside a museum so people could experience the era as if they were present in it.

The Margulies is possibly the weirdest museum I’ve experienced in all the class trips. It had a very diverse collection of pieces, all very different from the others. From the extremely minimalistic paintings near the entrance that made you think about how anyone would give up a fortune to hang up an incomprehensible depiction of a bull’s testicles in their home, to the statues of superheroes ready to collect their monthly social security check on the complete opposite side of the building, there seemed to be not real central theme or cohesion from one room to the next, much like the visit to the Rubell. But unlike the Rubell, the Margulies felt as if it was stuck in time. None of the artworks felt like they were built in recent years. Many gave me a sense of the mid-20th century, while others felt straight out of an alternate and dystopian present timeline.

Anselm Kiefer’s 2014 Die Erdzeitalter, a giant pile of paintings, rubble, trash, and dried sunflowers, looked like something you would see in the lobby of a hotel that was abandoned for 30 years. The paintings that came along with the piece made it feel as if the pile was gathered by aliens who made sketches of it to study the way humans lived. This feeling was augmented by the dust-covered floor which gave the room a smell of abandoned architecture. The same can be said about the adjacent room. The columns of painting-like pieces composed of all sorts of objects surrounded the two center works: a small four-walled structure made from concrete and visible rebars and a similar which was two stories tall. It gave me the sense of walking into an alien museum that purposely displayed the terrors of the Holocaust to show how humans can show such a lack of humanity toward each other.

Carrying on, another one of the rooms displayed a fallen truck coming right out of a sci-fi movie. It seemed almost like someone inhabited the vehicle, painting the insides and installing TVs to feel like they were home. On the other side, the room transformed into a retirement home for weakened superheroes, many of them haggard and holding onto their last straws, showing that even the strongest beings are also humans vulnerable to time. The room gave me a sense of a dystopian future, where there’s no one in the world to protect humans, leading to many relying on their own protection and architecture also succumbing to aging and lack of human care.

Sources:

https://www.margulieswarehouse.com/

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Wolfsonian as Text

A collection of pieces from the Wolfsonian, photographs by Sebastian Caballero (CC BY 4.0)

“Listen to the Sounds of the Factory”

by Sebastian Caballero of FIU, November 29^th, 2023

I’ve always had a love for themes of steampunk and industrial revolution combined with fantasy, like in the animated series Arcane and the videogame BioShock Infinite. Walking in the Wolfsonian and its many passages, this is the feeling I get from much of its artwork. The building itself comes straight out of an old southern European building, following a Mediterranean Revival design. Inside, however, the art pieces seem to completely contrast on the inside.

The highest accessible floor presents you with an old wooden piano with beautiful engravings surrounding landscape paintings, looking straight out of a pub from the Wild West. The rooms on this floor contained amazing pieces. Paintings showcased the great accomplishments of humanity, like outstanding innovations and advanced architecture. A great example is the Autobahn Bridge (English translation), a painting by Wilfried Schaflein that depicts the construction of a bridge extending the German highway. I found it to be extremely fascinating and very derivative of the industrial area, showing the beauty of nature and the power mankind has to shape its surroundings. Another work like it is Virginia Berresford’s Panama Canal. Another painting depicted a bunch of workers in a quarry with heavy machinery and handheld tools, chipping away at the white stone, creating patterns. On the other hand, many of the paintings depicted the atrocities of the same era. They show how war was responsible for taking the lives of innocent creatures and the greenery of the Earth. One showed piles of corpses spread across a field of emptiness, each burning and releasing smoke into the sky. Another painting depicted a city amidst a velvet-red sky and its reflection across a blood-red river. This one was especially eerie and gave me a sense of danger and dystopia coming from the horizon, almost as to warn the audience of the negative consequences brought by urban cities with massive buildings.

Outside the building was a security room fortressed by metal that completely clashed with the Mediterranean design of the museum. However, this fortress is very much complimented by the pieces of the first floor. Each one of them displayed a similar theme to the paintings on the last floor. On the left-hand side of the entrance was an Edison Bipolar Dynamo, circa 1887, a giant power generator from the industrial section of the Gilded Age. It gave me the feeling that it was displayed to show how the building got its electricity, much like Willy Wonka showing the process of making his company’s chocolate. This entrance felt much like walking into a church with its grandiose piece at the end. It was an Art Deco fountain with incredible symmetry and shine, which gave me the feeling I was steering at a church altar from a steampunk world. On the right entrance was a metal sculpture; that of a wrestler. The man seemed more robot than human, with proportions completely different from that of a person’s body. Standing tall, he watched over the entrance of the elevator, preventing any intruder from entering the museum’s many levels.

The Wolfsonian, to me, was a giant display of works highly resembling or centered around the industrial and technological revolutions. From the paintings of architectural accomplishments to the statue of a metal wrestler, the theme seemed to be persistent throughout the building. It differed from most other museums in this sense.

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Hello! My name is Nicol Alvarez. Fun fact: I don’t have an e at the end of my name, I know it’s weird but cool. I’m a junior at Florida International University who is majoring in pre-law with the goal of becoming a lawyer someday. I was born and raised in Miami by two wonderful Chilean parents. Music is my life’s passion. I have always loved music and singing, and I play many different instruments, including the ukulele, some acoustic and electric guitar, and the piano, which as of now am learning how to play. I’m excited to see what life has me and the adventures that will take me.

Art Encounter as Text

By Nicol Alvarez of FIU on Aug 31st, 2023, Miami, FL

Nicol Alvarez in PAMM (Photo by Nicol Alvarez/ CC by 4.0)

Miami is a vibrant city known for its thriving art scene.  While I may not be an expert on the art in Miami, I can certainly provide you with some insights. The city has developed to be an important center for both artists and art enthusiasts thanks to its the number of galleries, museums, and art fairs. Contemporary art, specifically, plays a significant role in Miami’s artistic landscape. It’s created by active artists who use their art as a way to discuss complex issues that affect our society. From terrorism to global warming, racism to poverty, contemporary art in Miami addresses a diverse range of topics. A variety of mediums, styles, and themes are represented in Miami’s contemporary art, which is diverse and unique a wide range of artistic expressions, including sculpture, graffiti, wall art, collage, digital art, and much more. 

When thinking about art, the first element that comes to mind for me is color. Whether it be a vibrant photograph, an intricate sculpture, a detailed drawing, or any other form of artistic expression, the color of the piece never fails to captivate my attention. Color has an incredible power to evoke emotions, set moods, and convey meaning in art and I’ve noticed that contemporary art uses color in a variety of inventive ways. Today’s artists experiment with a wide variety of hues, tones, and saturations rather than sticking to conventional color palettes. To create visually capturing works of art, they play around with bizarre colors, putting strong, contrasting hues next to one another. Contemporary art can now express its individuality and self-expression more freely thanks to this break from traditional color schemes and the best part is there are no rules when it comes to color especially in contemporary art. 

I chose to enroll in this course for various reasons. First and foremost, I had to get credits to finish my class requirements. Also, many of my close friends spoke highly of Professor Bailly and said he was a fantastic teacher. They mentioned that he intentionally incorporates entertainment into his lectures, making the class enjoyable and engaging for students. My initial expectations for this course were that we would be having class in a classroom every week, when I learned that we would be taking weekly field trips, I immediately thought, “Wow, this is totally unexpected, and I know I’m going to have fun in this class.” My expectations are that I will learn more about art than I already know, particularly about the type of art I will be seeing, the message that the artist is trying to express, the history and culture surrounding art, as well as many other things that I am interested in learning.

I am very interested in visiting the Perez Art Museum. Although I have never been there personally, I have heard numerous positive reviews about the museum’s impressive artworks and breathtaking views. One aspect that specially piqued my interest is the museum’ s strong emphasis on highlighting Miami’s vibrant cultural heritage.

PAMM as TEXT

By Nicol Alvarez of FIU at the Pérez Art Museum Miami on September 1st, 2023

Nicol Alvarez in PAMM (Photo by Nicol Alvarez/ CC by 4.0)

The PAMM Museum was definitely something that I was not expecting. I was honestly expecting to see some cool paintings here and there, but it was so much more than that. We saw elevators, swimming pools, classrooms, mirrors, etc. As you can see in the photo above, I was able to experience an amazing piece of artwork by Yayoi Kusama. As soon as I walked in, I was struck by how the room’s lights and colors changed and how the mirrors reflected those changes in all directions, giving the impression that the room was constantly moving. This really gave the sense that you were a part of the painting and one with the artwork, which I thought was really cool. 

One of the things that I saw a lot at PAMM were elevators. One of the elevators I saw was standing by itself; nothing was attached to it. However, when I looked inside, it appeared to have no bottom, and when I looked up, it seemed as if it could go on and on forever. But then I realized that that this elevator isn’t connect to anything and it’s just mirrors that’s creating that optical illusion. We also saw a video projection in an elevator. Every time the elevator door opened, a different scene would appear, including a couple kissing, group of women admiring a stylish lady’s exquisite handbag, a man checking out a woman, a father holding his daughter’s hand, people standing in silence, and more. I particularly enjoyed this elevator, not only because it was entertaining to watch and waiting for the next scene to happen, but also because it gave a glimpse of into all types of human interaction and emotions. It also demonstrated and reminded me of all the things that happen around us that we don’t often notice and this elevator served as a visual reminder of the complexities and details of human interaction, evoking both positive emotions and reflection.

  The most fun and coolest out of all the things we saw was the “Swimming Pool.” From the outside it looks like a regular swimming pool, really makes you want to jump in, but as you walk down the stairs and enter inside the swimming pool, it’s completely empty. When you look up, you can see water literally floating above you and the reflections of the water inside the pool made by the sun, and the walls that surround you is that familiar pool-blue color. Not only did I enjoy it, but I appreciated the atmosphere of where the swimming pool was set because it was on a patio with the beautiful trees surrounding it and the sun shining brightly above the it really gave that feeling of paradise and what better place to be than Miami, Florida, where the weather is known for being hot and all you want to do is relax by the pool or beach with a pina colada in your hand.

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NORTON as TEXT

By Nicol Alvarez of FIU at the Norton Museum of Art in West Palm Beach on September 15, 2023

Nicol Alvarez in Norton(Photo by Nicol Alvarez/ CC by 4.0)

I was fascinated with the art at the Norton Museum. From the Renaissance to the 20th century, there were a wide variety of European paintings that we got to see, including works by Claude Monet, Vincent van Gogh, Pablo Picasso, and many others. 

One of the things that caught my attention was Christianity’s impact during the Byzantine era. During this period, the art world was heavily influenced by religious themes and paintings were used to spread religious messages. One example would be the Virgin Mary, from a religious perspective, was an important figure in Christianity. She is respected as the mother of Jesus Christ. Artists often paint her to show her role as in the birth and life of Jesus. Through their paintings, artists convey the spiritual significance of Mary’s purity, devotion, and motherhood. 

During the Renaissance, Christianity a new turn. During this period, artists wanted to bring back classical art from ancient Greece and Rome while using Christian themes. Artists used their skills to portray biblical narratives and religious subjects in a more humanistic and naturalistic manner, for example to the Statue of David by Michelangelo. 

 During the 19^th and 20^th century, there was a shift in its role in Christianity. The impact of religion on art diminished as society became more secular, giving way to new artistic movements such as Impressionism, Cubism, and Abstract Expressionism. For example, Pablo Picasso, who is famous for his Cubist work. He broke down reality and assembled it back together in a fragmented, multidimensional way. He really makes the viewer think and meditate the understanding of form and space by capturing multiple viewpoints at once. 

One of my favorite artists is Claude Monet and I was so happy that I got the opportunity to see his art. Claude Monet, a French painter and one of the founders of the Impressionist movement, created art and used color and emphasis to capture the essence of a moment rather than sticking to the traditional art. One of his most famous series of paintings is the Water Lilies, which demonstrate his skillful use of color, texture, and light. In the image above, you can see the famous water lilies, but if you look closely, all you can see are blobs of paint with no clearly defined shapes or figures. However, if you step back a little, you can see the painting take shape and change into water lilies. 

The Norton Museum is definitely the place to go. Ranging from Renaissance masterpieces to Impressionists works, it provides an in-depth overview of the evolution of European art throughout the centuries. It offers visitors a unique experience to immerse themselves in a world of artistic expression and provides an understanding and appreciation of how religion and culture had a huge impact in its role on art and the artist and how it had changed over the years from ancient art to contemporary.

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de la Cruz/Rubell as Text

By Nicol Alvarez of FIU at the Rubell Museum and de la Cruz Collection on September 15, 2023

Nicol Alvarez in Rubell (Photo by Nicol Alvarez/ CC by 4.0)

My visit to the Rubell Museum was very interesting. There is a wide variety of art works, including paintings, sculptures, photographs, and many more. They also display a wide range of themes and subjects reflecting the variety of current artistic practices. There is something to pique the interest of every viewer who enters the museum, from abstract to conceptual works to figurative and narrative pieces. 

The image above is titled “Family” by Karon Davis, and as you can see, it features a family wearing golden antlers on their heads. However, what I found most striking about the family was the serious expressions on their faces, which serves as a metaphor for the dangers that African American families encounter. A study shown by the American Civil Liberties Union (ACLU) found that people of color were nearly three times more likely to be subjected to pedestrian stops and searches compared to white people. Another study showed that According to Mapping Police Violence, African American are three times more likely to be killed by the police compared to their white counterparts. Also, the Washington Post’s database reveals that African Americans are twice as likely to be unarmed when fatally shot by the police. Unfortunately, people of color are not always the target. While African Americans have long been the target of racial prejudice and discrimination, it’s important to recognize that people from different racial backgrounds also face similar dangers, the unfortunate reality of racial prejudice is also seen in Asian Americans, Hispanic and Latino communities, Native Americans, and people of Middle Eastern and Muslim ancestry. To combat this pervasive problem, it is important that we work together to get rid of prejudice, fight for equal rights, and promote a culture that values and respects the diversity of all races.

Nicol Alvarez in the De La Cruz (Photo by Nicol Alvarez/ CC by 4.0)

            When I visited the de la Cruz Museum, one of the things that caught my attention was the giant pile of candy lying on the floor. This artwork, from the picture above, is by Félix González-Torres’s artwork (Untitled) Portrait of Dad, and the artist’s personal experience of his father’s illness and eventual death is reflected in the candy pile, which is a representation of his father’s weight. The candy represents the fleeting nature of life and the bittersweet memories connected to loss. It is carefully restocked to maintain its freshness. 

I found this piece of art to be very special because the candies represent the affection and love that a father and son shared. Each candy can represent a conversation they have had or a memory they have shared, and the way the candies are wrapped can represent how memories are preserved and protected over time. And, of course, this piece reminds me of my dad and how he is towards me by showing me love and for doing so much for me. 

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MARGULIES/LOCUST as TEXT 

By Nicol Alvarez of FIU at Margulies Collection and the Locusts Project on October 13, 2023

Nicol Alvarez in the Margulies Collection (Photo by Nicol Alvarez/ CC by 4.0)

            The Margulies Collection is a remarkable art collection that showcases modern and contemporary art in an engaging and stimulating way. With its primary focus on large-scale sculptures, varied collection of paintings, and a dedication to encouraging conversation and ideas, it offers visitors a memorable art experience and one of my memorable art experiences at the Margulies was the “Ages of the Worlds” by a famous artists named Anselm Kiefer. Kiefer often works with materials such as clay, ash, lead, dried flowers, and straw and creates powerful pieces that capture the gloom and darkness of significant events that have occurred during the World War era. One example of this is his exploration of the Holocaust. He uses these strange materials to convey a sense of raw emotion and profound reflection. The use of clay and ash, for example, symbolizes the destruction and devastation caused by war. These materials, once vibrant and full of life, now represent the ruins and remnants left behind by such catastrophic events.

When I first saw this sculpture, all I saw was a huge stack of painted canvases stacked on top of each other, along with large boulders, dead flowers, and ash or rubble on the ground. I immediately thought it was huge and very intimidating. It was something I’ve never seen before, and it really gave you the feeling as if you were walking into a black and white painting because there was no life or color in the room. I really felt as if Kiefer wanted to show just a glimpse of the destruction, devastation, and a sense of hopelessness that happened during the World War. 

                   Nicol Alvarez in the Locusts Project (Photo by Nicol Alvarez/ CC by 4.0)

My experience at the Locusts Project was incredible.  I had the chance to meet Jen Clay, the artist who created the artwork “Eyes of the Skin.” She asked me to participate in a video game that she made. The game’s objective was to get out of the woods full of tree-like creatures, and it had six possible outcomes. The game was really cool because it was interactive; you could talk to the monsters there and, as you play, your fate depends on each choice you make. The video game is entirely made of quilt, and it is intended to create both a calming and comforting experience with background music and a sense of uncertainty and danger when you come across the monsters and hear the menacing sounds in the background. 

We were also given an insight about the artist herself. Jen Clay discusses her own experience with mental illnesses and how she expresses them in her artwork. She also enables those without first-hand experience of a severe mental illness to understand and empathize with that ongoing state of uncertainty or fear. Her works encourage thinking on how our fears and uncertainties affect the ability to see things as they truly are, at times forcing us to let go of reality in order to keep our sanity.

WOLFSONIAN as Text

By Nicol Alvarez of FIU at the Wolfsonian Museum in Miami Beach on October 27, 2023

Nicol Alvarez in Wolfsonian (Photo by Nicol Alvarez/ CC by 4.0)

The idea of picturesque scenes is challenged by a new perspective on landscape painting with the Wolfsonian’s Big World Exhibition. Rather than paying attention on idyllic rural settings, this collection explores the changing environments of the modern era. This exhibition, which takes place between the late 19th and early 20th centuries, tells the story of how the world has developed and how people’s attitudes have changed over time. It shows scenes of environmental destruction brought on by conflict and environmental neglect, as well as how nature has changed dramatically from pure to modern urban and industrial centers.

The piano drew my attention right away, especially because I enjoy music, but I was also drawn to the artwork on the instrument. On the music rack and the sides of the piano, there was a picture showing a landscape with clouds, mountains, valleys, and trees, which reminds me of Little House on the Prairie. When someone asked, “What did the art on the piano mean?” some students responded that it was pollution, others that it evoked nostalgia, and me, I thought it was about the journey that music can take you on. 

I can imagine myself sitting at the piano with my eyes closed and letting my fingers play the keys, and I can picture an entire movie taking place in my head as the music plays, and I see myself running through the fields like Maria in the Sound of Music as the camera sweeps across the beautiful Austrian Alps and she’s spinning and singing in awe of her surroundings and life in general. It’s also that feeling you get when you listen to a certain song and instantly remember the first time you fell in love, and you replay that memory in your mind, or when you’re driving around late at night with no plans and your music turned all the way up. 

I remember my senior trip, and we were in St. Augustine, and it was very late. My two friends and I laid on the grass and looked up at the stars and one of my friends decided to play music on her phone. We were laughing, talking, singing, it was a very beautiful and special moment I had. Another moment I had was when I heard the song, I Hear a Symphony by Cody Fry, for the first time. It was the instrumental part rather than the lyrics that really got to me because I remember listening to the song and it was so beautiful that words couldn’t even describe it but it’s the feeling of meeting that special someone and all the simple and everyday things in life turn into something grand and wondrous. 

The piano was something that I absolutely loved from the museum. It really gives the whole new meaning to the famous quote: “It’s not the destination, it’s the journey.” Overall, I had a great experience at the Wolfsonian and hope to go back. 

FROST as TEXT

By Nicol Alvarez of FIU at the Frost Art Museum in Miami on November 17th, 2023

Nicol Alvarez in Frost Art Museum (Photo by Nicol Alvarez/ CC by 4.0)

The Frost Museum provided me with an interesting experience that broadened my view on abstract art. Before I truly understood what abstract art really was, I used to get upset because I felt that kind of art was created without much thought or effort. I used to think that abstract was just paint splattered on a canvas and people simply called it “art.” But when I visited the Frost Art Museum, I was able to understand what abstract really is. 

Addie Herder, who is a renowned abstract artist, uses bold color palettes, intricate patterns, and an immersing sense of movement. Because her abstract art wasn’t the typical kind, I enjoyed looking at it. She sets apart herself from the others by using particular kinds of techniques. For example, she Addie Herder uses texture and layering. She gives her compositions depth and dimension by using paint, ink, and a lot of collage. These elements give the canvas a sense of movement and energy, which enhances the visual experience. Another work of art by Herder is a collage made up of many elements. Because of the collage’s many textures and layers, it appears as though you are looking at a busy neighborhood. Addie Herder does an excellent job in demonstrating a style of abstract art

Nicol Alvarez in Frost Art Museum (Photo by Nicol Alvarez/ CC by 4.0)

Another artwork that really drew my attention was by Mike Kelley and it’s called Memory Ware Flat No. 48. He explores themes such as identity, memory, and construction of reality and incorporates them into his artwork. One of the things that I thought about his art was that it looked expensive because it was gold, shiny, and jewelry-filled, but when you get closer to it, you can see little objects such as buttons, bottle caps, pins, and other everyday objects. The use of these everyday objects talks about the power that memory has. Every object be it a zipper from an old jacket or a pen, they each have a special story to tell and a memory to be remembered. 

One of the things that I treasure deeply was a bracelet that my best friend gave me. Although she wasn’t the very best best friend, she supported me, nonetheless. She would often give me jewelry and little notes here and there but after some years, we both went our separate ways. I remember those bittersweet times I spent with her when I look at this bracelet. She was one of my best friends ever.

Not only does Mike Kelley demonstrate the importance of memory through everyday objects, but I believe he also wants the viewer to appreciate and value all the mundane things that happen in our everyday lives, cherish the small things in life, and to not take anything for granted. 

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ART REFLECTION AS TEXT

Nicol Alvarez in PAMM (Photo by Nicol Alvarez/ CC by 4.0)

NOTHING IS WHAT IT SEEMS

By Nicol Alvarez of FIU in Miami, December 1, 2023

I learned many things on my trips to art museums. At first I believed that art was limited to what i can see on a canvas. I realized art can take on many forms and is not limited to the traditional style. Art also has the power to challenge one’s perception and express feelings. Through my visits, I have come across artworks that have left me confused, intrigued, awe, etc. and Iwas able to see and experience that when I went to the PAMM museum and saw Leandro Erlich’s art. 

            When I visited the PAMM, I was able to see art made by Leandro Erlich, and I really intrigued by his art because it something that I’ve never seen before and never thought of before. One of the things that I enjoyed about his art was that he would use common everyday things and make you see them in a different view. For example, it’s common to see pools in hotels, homes, neighborhoods, etc., especially in Miami. Leandro Erlich, however, was able to take a basic pool and turn it into art. The water in the pool is supported by a layer of transparent glass, and underneath is a room where viewers can come in and enjoy the experience from above and below.

Elevators are another tool that Leandro Erlich uses. People who live in cities often use elevators for transportation, so much so that it’s easy to forget they’re even necessary. Erlich created an elevator that defies gravity by not moving up or down, but rather takes you on an unexpected journey that creates a sense of unease and anxiety when you look inside. 

Lost Garden demonstrates how to alter and reinterpret landscapes in a way that appears to go beyond the actual space and artwork. This work of art consists of two windows on the front and an interior garden. By adding an element of surprise and uncanny, he challenges the viewer’s perception of these space which normally seem ordinary and common. 

Leandro Erlich picks objects such as swimming pools, elevators, and mirrors and turns them unconventional that transcends traditional boundaries. He creates metaphors for the liminal spaces that exists between reality and imagination. His works challenges the viewer to look past our first impressions and reflect on what we know, pushing us to explore the depths of our own perception. Erlich challenges our ability to see the world objectively and makes us face the boundaries of our own judgments.    

My experience with art has taught me that while art may depict reality or illusion, there is always more than meets the eye. It crosses cultural boundaries, explores the depth of the subconscious, question societal norms, holds many meanings, and encourages personal growth. By connecting with art, we open a world of opportunities and grow a deeper understanding of the relationships we have with one another and with the world around us. 

Patricia Varela is a student at Florida International University, pursuing a BA in Biological Sciences. Born in Miami but raised in Honduras, Patricia return to the U.S at age 15 with the goal of becoming a physician.

Art Encounter as Text

By Patricia Varela of FIU at Miami,FL on August 31,2023.

When I was a child, what came to my mind when I thought of Miami were the beautiful beaches and the night skyline that were featured in the postcards and movies. Then, six years ago, Miami became my home, and I found out that it was home to many artists and art pieces. Unfortunately, my knowledge of Miami’s art culture is extremely limited, and I have visited very few art exhibits. But from those experiences, I would say that the art in Miami tends to be very colorful and vibrant, for example, the famous Wynwood walls. Recently, I have noticed more interactive/immersive exhibits like the ones presented at Artechouse. 

I know that Contemporary art refers to the type of art that represents today’s world. I didn’t know Miami was a lead city on it. I think that Miami, being a highly diverse city, has a lot to do with it since we can see that reflected on the art. I do not know the totality of what contemporary art embodies, but I’m very interested in learning about it since our city is being recognized by it. 

I am in this class because, in the last few months, I have discovered how much I enjoy art, and this class allows me to explore it. Art conjures in my mind admiration, but it also intrigues me; when I look at a piece of art, I can recognize the beauty in it but cannot understand how the artist came up with the idea or how are they able to materialize it with different elements like paint, paper, plastic, etc. in one piece. For a very long time, I only viewed artists as people who had the talent to replicate an aspect of nature with canvas and colors. When I realized that artists could provoke emotions, create statements, bring awareness, and play with your senses and mind (among other things), I truly started to like and appreciate art.   

I have many expectations of this class, from learning about the impact art has on Miami to understanding what has led artists to create their work. I am looking forward to class discussion since art is interpreted in so many ways. I believe this class will change for the better the way I see art.

The places I am the most looking forward to are the Bakehouse Art Complex and Oolite Arts because I am intrigued to see the before of an art piece and what work and thought process goes into making it. After reading about both places, I’m also interested in learning how spaces like this help raise artists and the community.

PAAM as Text

By Patricia Varela of FIU at Pérez Art Museum Miami on September 1st, 2023.

As we enter a new place, we tend to make a quick scan of it and find familiar things like seats or exist. When we stepped into PAMM, one of the first thing I notice/registered was that there were elevators to our left, I did not realize they were a part of the exhibit until the guide told us to step into them, only to find out the mirrors were not there. The situation was pretty funny and interesting to me I was not expecting to see my peers where my reflection was supposed to be. The slight change of removing the mirrors was able to change my perspective greatly and to someone else these changes can cause confusion about their reality. The artist who created these “elevators” is Leandro Erlich, he is known for causing this kind of effect on those who see his creations. According to Laura Batkis, Erlich turns a normal situation into a strange one. I notice that he could distort the perception of a place by using mirrors, either adding or removing them. He truly demonstrates the duality of everyday life (PAMM).

The second theme seen in the exhibition that caught my attention was the surveillance. Everywhere we go there is someone watching and recording. In almost every building there are CCTVs, many houses have cameras on their doorbells, and we cannot forget that we carry one in our pocket 24/7. I would assume that most people know these, but do we realize how much we are being watch? In this section of the exhibition, I could see how much our actions can be track. The first wall shows a couple of security screens of a very common set, a waiting room, in this one we can see how normalize security cameras are and how much we consent for safety reasons. Then, we look through a door hole, which people do for security reasons, but curiosity can also be a factor here. The last piece from this section that really got me thinking was the blinds in which you can “spy” on the neighbors, in this part our guide discussed with us the type feeling this piece can transmit, maybe you feel as if you are seen something you are not supposed to or maybe you entertain yourself by finding out what other people are doing. My take on this piece is that each one is responsible for what you let others see of your privacy, this can either be by deciding whether you close your blinds or by choosing what things you post on your social media.

Lastly, a piece that I thought was beautiful were the clouds from how they were created with different layers to how each of them forms some type of figure. When looking at the piece, you start searching for the object just like many of us do when looking at real clouds.

After experiencing the Erlich exhibition at PAMM I could not agree more with its title Liminal. With each piece you found yourself in the between perspectives, ideas, and conversation. They make your mind work to figure out the explanation of what you had just go through.

References

Batkis, Laura. “Leandro Erlich.” Arte Al Dia, May 2006, http://www.artealdia.com/Printed-Edition/114_Mayo_2006/LEANDRO_ERLICH. 

Norton as Text

By Patricia Varela of FIU at Norton Museum of Art on September 15th, 2023.

The Norton Museum has a great variety of art pieces from different styles and eras allowing us to travel through time and we were able to see how art has evolved. The first paintings that we saw ranged from the 1300s to the 1600s, which means we saw different art periods (Medieval, Renaissance, and Baroque) in one room (Bailly,2023). These pieces include representations of the Virgin Mary and Baby Jesus, Jesus’ crucifixion, depictions of Dante’s inferno, and some other biblical stories, Professor Bailey mentions how for many of these pieces historical/ biblical context is needed to fully understand them since many details on the paintings refer to the story. As we moved from one period to the next, we could see how the representation of anatomy and expressions improved they were more accurate and contained more details. I found it very interesting how the people who paid for this painting wanted to include themselves in these biblical stories.

Once we move beyond these periods, we begin to see newer, different styles, from Impressionism to Abstraction. Artists stopped trying to create “perfect” or exact representations of things. In Impressionism, we saw many landscape pieces where there was no need-to-know history to understand it. Now people can see an image and recognize what it was from their day-to-day life. The professor pointed out how in impressionism you recognize the big picture but if you go close to the painting you cannot tell what it is.

Then, we have cubism this style has always caught my attention and it really surprised me that the shapes used, and the way objects are displayed is because these paintings capture things as if they were constantly moving, Picasso and Braque are the fathers of this style.

As the years go by, artists seem to constantly implement yet challenge past and current techniques, and the message they transmit.

During our visit, we had seen women in most of the paintings (mainly as the Virgin Mary), but in those older pieces, there were no female artists. Art (like most things) was/is male-dominated. Since women were not allowed to receive a proper education, they could only learn so much. As mentioned, we have only seen portraits of women taken by men; when we see the paintings of women portrayed by women, they transmit other vibes, women look caring, and they don’t just show beauty, or a heavenly figure instead, they show motherhood. We proceeded to view H.I.L.M.D. By Jillian Mayer, in this video, the artist is painted the same way as a statue and she rips out her arms, in this work she is representing the famous statue, Venus de Milo. During this video, she went from being a woman, a human being, to being a pretty “object.” Then, there was Si Señor by Abigail Reyes, which is a compilation of women saying the phrase “Si señor.” These two works depict perspectives on women throughout history, beautiful objects whose job is to serve men.

About the Author

Vianne Barroso Ramos is a student at Florida International University Honors College, pursuing a Bachelor’s Degree in Biology with a Pre-Med track. Her ultimate ambition is clear: to don the white coat and save lives as a doctor. Born amidst the vibrant rhythms and storied history of Cuba, Vianne stands today as a testament to resilience and perseverance. Exiled from her homeland, she has navigated the tumultuous waters of change with unwavering dedication and hard work. Whether soaring through the skies after jumping out of an airplane or plunging down the steepest rollercoasters, Vianne embraces life’s risks with open arms.

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“Art encounter as text”

“Embarking on a Journey into Art in Miami“

By Vianne Barroso of FIU in Miami, August 31, 2023

My initiation into the “Art in Miami” seminar was much like stepping into an entirely unfamiliar realm, even though the city itself is my home. While I have always been acquainted with Miami’s lively streets and vibrant beaches, its pulsating art scene, especially contemporary art, was an uncharted territory for me. This lack of prior knowledge, contrary to creating hurdles, has carved out an exciting space of curiosity and wonder. It is like discovering a hidden room in one’s own house; I live here, and yet there is so much I have not seen. This class promises to open a new window to the world, allowing me a fresh perspective of the very city I reside in.

Our exploration began with a captivating dive into photography under the insightful guidance of Professor John William Bailly. A particularly engaging discussion revolved around the topics of subject and perspective, illustrated by a range of photographs shown to the class. These diverse images underscored the countless methods photographers use to depict even the simplest of subjects. It became evident that this medium of art was not just about capturing moments but about storytelling. As Professor Bailly illustrated, a mere alteration in angle or viewpoint can transform a narrative from cheerful to somber or elevate it from ordinary to extraordinary.

Beyond the joy of understanding the technical complexities of photography, from composition to lighting, there is a personal reason that drove me to this class. Most of my academic journey is intertwined with the structured, empirical world of science. While the precision and predictability of science have their allure, they often come paired with stress and rigidity. In contrast, the “Art in Miami” seminar seemed like the perfect sanctuary, an oasis upon the desert of my science-heavy curriculum. A class where I can relax, explore, and learn about my own city’s treasures; a unique blend of leisure and education.

Professor Bailly’s teaching style, marked by his easy-going nature and close bond with students, further solidified my belief that this was the right decision. Instead of just a routine class, it feels like a shared journey of discovery. His approach is not just about imparting knowledge but about fostering an environment where questions, discussions, and interpretations are celebrated.

It’s not just the allure of art that drew me in, but the prospect of this class being a portal to my city’s heart. To learn about Miami, not from textbooks or news articles, but by experiencing its pulsating art scene firsthand. The seminar promised an exploration of museums, galleries, and artist collectives, making it an exciting blend of classroom learning and fieldwork.

In conclusion, as I reflect on this week, I realize that this class also provided a much-needed respite from my otherwise science-saturated academic life. The promise of visiting various art hubs in Miami excites me, as I look forward to learning more about my city and the world of contemporary art. The canvas of my knowledge is blank, and I am eager to witness the masterpiece that unfolds through this course.

“PAMM as text”

A Day of Paradox: My Experience at PAMM’s “Liminal”

By Vianne Barroso of FIU in Miami, September 8, 2023

The Pérez Art Museum Miami (PAMM) is Known for avant-garde exhibitions. My recent visit there, however, left an unexpected and profound imprint on me. Drawn to Leandro Erlich’s “Liminal”, I was particularly intrigued by two installations: “The Classroom”, a politically charged space, and “The Swimming Pool”, a mesmerizing optical piece. Both beckoned not merely as explorations of perception versus reality, but also as windows into introspective reflections and interpretations. 

  “Liminal” introduced the notion of in-between moments; those fleeting intersections of the familiar with the unfamiliar, clarity with illusion. As I walked through spaces emulating everyday scenes, I felt an unreal sensation. Whether it was a hair salon, elevator, or laundry room, each presented a strikingly realistic representation. However, Erlich’s touch lay in the details that metamorphosed these everyday settings into mind-blending enigmas. 

Without a doubt, “The Swimming Pool” was the start of my PAMM experience. The illusion Erlich crafted was both captivating and thought-provoking. From the surface, it seemed like a regular pool, with visitors appearing to be underwater. Descending into the installation’s lower level, I was met with a surreal scene. Protected by a layer of transparent glass topped with a thin veil of water, I could walk and interact, feeling as though I was submerged, even as I remained dry. The refracted light, the playful distortions, and the sound of muffled voices gave the illusion of being in a dreamlike underwater realm. 

The true genius of “The Swimming Pool” was its ability to transport me beyond the confines of the museum and into an artwork’s core. I felt as though I had stepped inside a vivid painting or dreamt while wide awake. The sense of displacement, the dichotomy of being in two places at once – above and below the water – was enchanting. It invoked feelings of nostalgia, of those childhood moments when I would daydream, floating in a pool, looking up at the sky and imagining a world inverted. 

The combined magic of the distorted reflections and the illusion of depth made me feel like a part of the artwork. It was as if Erlich had painted a dreamscape and invited me inside to explore its nuances. This immersion, where boundaries blurred, and reality melded with fantasy, was a testament to Erlich’s unparalleled artistic vision. 

However, amidst the wonder, “The Classroom” presented a stark contrast. Initially, its shattered state drove me into deep reflection. Yet, my musings were interrupted by the guide’s perspective, linking the artwork to political events in Miami Dade County schools and the “De Santis Era”, even though the piece predates these events. This assertion set me on edge; while I appreciate art’s subjective nature and diverse interpretations, the guide’s stance seemed more of a personal opinion than a neutral explication. 

My discomfort was not merely due to the temporal discrepancy, but also the details. For instance, banned books in Miami Dade schools contained content considered explicit for children, and curriculum decisions leaned towards parental discretion. Positioning these decisions as purely political narratives during an art tour felt misplaced. 

 In my eyes, Erlich’s installation served as a warning: neglecting our past might lead us down a path of societal decay. The scattered books, seemingly echoing the peril of ignoring history, resonated deeply. To me, the classroom’s chaotic state mirrored present times, where society risks overlooking luminaries like Martin Luther King, Lincoln, and Washington—represented by disjointed display of pictures on the wall.  

 While “The Swimming Pool” offered solace through its visual brilliance, Erlich’s other creations like “The Cloud” and “The Elevator” similarly teased my perceptions. 

 

Yet, the guide’s comments regarding “The Classroom” left me pondering the weight of interpretation. Should a guided tour allow personal beliefs to overshadow an artist’s possible intent? Or remain a neutral platform for audiences to formulate their own conclusions? 

 In wrapping up, the contrasting vibes of “The Classroom” and “The Swimming Pool” illuminated art’s diverse facets. One instigated societal contemplation, while the other beckoned into a personal, dreamlike realm. “Liminal” transcended mere perceptions of reality; it nudged the boundaries between personal convictions and professional obligations. Through Erlich’s creations, we are prodded to reflect and challenge. The tension between individual interpretation and art’s intent creates a paradox I continue to mull over. 

“Norton as Text“

My Experience at Norton Museum: A Journey Through Art History 

By Vianne Barroso of FIU in Miami, September 23, 2023

Visiting Norton Museum of Art was an eye-opening experience. Each wall of the building had a tremendous amount of history, every painting helped me arm a better understanding of art’s history through time. Professor Bailly and the class traveled back to the historical roots of European Art, to get the essence of religious art during the late Middle Ages and Renaissance and we witnessed the transformation of artistic expression throughout centuries. The “Madonna and Child Majesty” and “Madonna and Child in Glory” were two paintings that reflected this and captivated my attention. I was also inspired by a Contemporary exposition titled: “Reflecting the Gaze” by Jillian Mayer and Abigail Reyes, which seemed like the perfect contrast between art’s history and women’s reality. 

A quote from the museum’s wall that aptly encapsulated the period’s core: 

“The works in this room exemplify some of the key features of the late Medieval and Renaissance periods. Medieval Art had many strains. The two most evident here are the Byzantine and the Gothic(…) The era now known as the Renaissance began in the early 14^th century and lasted and lasted until the end of the 16th century. During this time of outstanding cultural achievement, a new importance was given to humanity in the order of things”

Evren

In other words, this quote drafts the shift in artistic perspective and the transitional phase between late Medieval Art and the Renaissance. It also highlights the two main styles: Byzantine and Gothic. These two were discussed deeply in two specific paintings. 

The “Madonna and Child Majesty” clearly reflects the Byzantine, flat, geometric patterning, typical of 1300’s art. Professor Bailly explained how at that time art revolved only around religious iconography and looking at this painting it made total sense. I noticed how the features and colors of their faces were not human like. Some of my classmates even commented that it seemed like the painter did not know much about angles, shadows, and basic painting skills. However, the professor clarified that it was done on purpose to highlight the divine of the subjects, assigning an otherworldly presence to them.  

In contrast “Madonna and Child in Glory” leaned more towards the Gothic style. After examining this piece, it was evident the switch in the styles that we saw in the previous work; there were shadows being used to approach that 3D image, human-like features were evident and were growing an inclination towards realism. Professor Bailly explained how these characteristics would define the subsequent Renaissance period.  

But it was not just the old that captivated me. A contemporary exposition titled ‘Reflecting the Gaze: Jillian Mayer and Abigail Reyes’ offered a sharp contrast to the historical pieces. 

“The artists repossess their agency by taking back the otherwise defenseless perspective of how women ‘should’ or are ‘meant to’ behave and be viewed. Mayer and Reyes provide alternative vantage points to these stereotypes in thoughtful, and humorous, forms.”

OctoberCMS (par.1)

This showcase was a renewed interpretation of the societal lenses through which women have historically been seen. There was one specific video of Mayer that left an indelible mark on me. The scenario was simple but profound: a woman on a beach, enjoying the sun and the view. She had her hands open to the air, giving allusion to freedom and peace. However, as the video developed, this serene image transformed into something more disturbing. The woman turned to stone, like the timeless statues often found in art museums. What really defied my expectations was the scene that followed. Suddenly, she cuts her arms off, resulting in the familiar sight of an armless classical statue. These evocative images were not only visually striking and uncomfortable to look at; It was loaded with deeper symbolism. It challenged the objectification and repression of women’s capabilities, questioning social norms that have “frozen” women into specific roles and expectations. 

The video served as a stark reminder that while much has changed since the days of the Renaissance, some societal chains remain. It brilliantly blended the classical with the contemporary, forcing viewers to reflect on the progression, or lack thereof, in certain societal attitudes. 

In reflection, my day at the Norton Museum was not merely a visit; it was an intense learning experience. From the ethereal depictions of divine figures to the modern critiques of societal norms, I was guided through the annals of art history. Each era enlightened, challenged, and enriched my understanding of humanity’s evolving relationship with art. Through it all, I came to realize that art is not just a mirror to society but also a lens through which we understand our past, critique our present, and envision our future. 

Work Cited

Evren, Robert. The Late Middle Ages and the Renaissance. Norton Museum of Art, Miami, Florida.

OctoberCMS. Norton Museum of Art | Artist Talk Reflecting the Gaze: Jillian Mayer and Abigail Reyes. http://www.norton.org/events/artist-talk-reflecting-the-gaze–jillian-mayer-and-abigail-reyes-08-11-2023.

“Rubell/ De La Cruz as Text“

My Visit to the Rubell Museum and De la Cruz Collection 

By Vianne Barroso of FIU in Miami, October 6, 2023

My experience at the Rubell Museum was nothing short of transformative. Among its vast collection, two exhibits profoundly moved me, with their haunting representations of loss, memory, and the transience of life. 

The first, Christian Boltanski’s Lessons of Darkness series, was a poignant representation of the ephemerality of life using vernacular photographs of children. Presented in a quasi-religious ambiance, these images, notably in Monument (Odessa), evoked a deep sense of melancholy, hinting at the tragic fates that likely befell these innocent faces during the Holocaust, underling the sentiment of lost memories and interrupted lives. 

Yet, it was another artwork that completely enveloped me. The piece titled “Untitled, 2006”, composed of charcoal, chairs, branches, and plaster on canvas, was a stark portrayal of devastation and sorrow. Standing in front of it, I felt as if I was transported inside its harrowing landscape. The scattered chairs, broken branches, and muted colors conjured a scene of disaster and death. It mirrored the despair of the Holocaust, a tragic period that forever scarred humanity. The sheer desolation of the piece made me feel surrounded by overwhelming sadness. It was as if the canvas was not just a representation, but a tangible connection to a time of immense grief and suffering. 

Transitioning from the profound experience at the Rubell Museum, my visit to the De la Cruz Collection was an intimate journey into my own heritage. Ana Mendieta’s Silueta series, particularly the installations using the “flor de papel,” evoked memories of my Cuban roots and the shared experiences of exile. 

Born in Cuba, Mendieta’s narrative is one of exile, identity, and belonging. Though initially a painter, her disdain for the medium pushed her towards a more interdisciplinary approach. Her Silueta series was particularly impactful. One specific silhouette that lingered in my memory was crafted using the “flor de papel” or “paper flower,” a bloom that is common in Cuba but not so much elsewhere. This flower held personal significance for me; it was a fragment of my childhood. My backyard in Cuba was adorned with these flowers, and I spent countless hours playing amidst them, their delicate petals reminiscent of fragile memories. 

Mendieta’s use of the “flor de papel” in her artwork was a stark reminder of her experiences as an exile, reminiscent of my own displacement. It’s uncanny how art bridges the temporal and geographical gaps, and through Mendieta’s work, I felt a profound connection with my homeland, the memories associated with the “flor de papel,” and the shared sense of yearning for a place we both left behind. 

Being of Cuban descent, Mendieta’s work in the De la Cruz Collection was a revelation for me. The masterpieces, primarily created by Cuban Americans, drew parallels between the artist’s exile and the experiences of countless Cubans who sought refuge in the U.S. These art pieces weren’t just mere displays for me but mirrors reflecting my culture, roots, and the struggles faced by my ancestors. 

Both the Rubell Museum and the De la Cruz Collection took me on a roller-coaster of emotions. While the former confronted me with the depths of human suffering and the fragility of life, the latter offered a personal reflection on identity and belonging. Together, they provided a unique blend of universal and personal narratives, creating a memorable tapestry of insights and emotions. 

“The Margulies Collection as Text“

Temporal Echoes 

By Vianne Barroso of FIU in Miami, October 20, 2023

Pictures by Vianne Barroso Ramos CC// by 4.0

The heart of Miami’s Wynwood Arts District is not just a hub of vibrant creativity but a realm where history, emotion, and art coalesce. My recent visit to The Margulies Collection at the Warehouse was an unforgettable immersion into this symbiotic relationship. This 50,000 square foot retrofitted warehouse, operating under the aegis of the Martin Z. Margulies Foundation, stands as a beacon of art appreciation, study, and community engagement. 

My exploration began with a stark, poignant piece that immediately captured my attention: George Segal’s Depression Breadline from 1991. A meticulous bronze sculpture, it emanates more than just artistic prowess; it pulls its audience into the depths of America’s history. Commissioned ​for the Franklin Delano Roosevelt​ ​Memorial in Washington D.C​., this sculpture is a piece of a larger narrative encapsulating the trials and tribulations during FDR’s presidency. 

The scene depicted in Depression Breadline is not just a line of people. It is a representation of a society grappling with economic downturn, uncertainty, and despair. Every bronze figure, standing in a line and waiting, encapsulates a story – of dreams deferred, hopes crushed, but spirits unbroken. Standing before it, one can almost feel the weight of collective anticipation, the silent strength emanating from each figure, and the shared hardship. 

Moving through the vast expanse of The Warehouse, another artwork profoundly resonated with me: Anselm Kiefer’s Die Erdzeitalter (The Ages of the World), crafted in 2014. This intricate blend of gouache-and-charcoal on photographic paper and canvas, alongside a captivating sculpture, offers a visual journey through geological time. 

At first glance, it’s an alchemical blend of discarded canvases, rocks, debris, and striking dried sunflowers. But on close inspection, one could decipher the annotations of geological terminologies on the reproductions flanking the central sculpture. This melding of varied periods challenges our conventional perception, urging viewers to embrace a holistic understanding of time. By intricately weaving historical and geological events with rich imagery and metaphors, Kiefer invokes a deep sensory and intellectual realization of time’s cyclical nature. 

What’s captivating about Ages of the World is not its mere representation of time or its portrayal of geological epochs. Instead, it is the work’s ability to communicate without relying on a linear narrative. The piece challenges its audience to derive meaning from the juxtapositions and superimpositions, oscillating between the vastness of global events and the minute intricacies of particular moments. For a historian, such a representation provides fodder to the imagination, allowing one to perceive the continuum of our existence within a still-unfolding epoch. 

One aspect of Kiefer’s installation that struck a chord was his usage of sunflowers. By positioning the seeds facing the ground, he subtly alludes to the theme of rebirth, a phoenix-like resurgence from the past. Furthermore, the recycling of his “unsuccessful” paintings into this masterpiece underscores the idea that nothing is truly discarded in time’s vast tapestry. Every moment, every creation, finds its purpose and space. 

Both these masterpieces, Segal’s Depression Breadline and Kiefer’s Ages of the World, exemplify the transformative power of art. They are not mere installations but narratives, urging introspection and reflection. Such experiences reinforce the belief that art, deeply experienced, offers profound insights into our existence, our past, and the ever-evolving fabric of society. 

In conclusion, my sojourn at The Margulies Collection at the Warehouse was not just an art expedition; it was a poignant journey through time and memory. These “Temporal Echoes” reverberate through each artwork, reminding us of the intertwined tapestry of history, art, and human emotion. The Warehouse, with its curated collection, stands as a testament to the power of art – to communicate, evoke, and inspire. 

“The Wolfsonian as Text”

Farm to Factory 

By Vianne Barroso of FIU in Miami, November 5, 2023

My recent visit to The Wolfsonian in Miami was a memorable experience that took me on a fascinating journey through the transformative era spanning from 1850 to 1950. This extraordinary institution, with its rich collection and immersive exhibits, not only provides a glimpse into the past but also bridges the gap between agrarian life and the rise of urbanization, from colonial empires to Cold War superpowers, and from the first Transcontinental Railroad to the advent of television. 

The Wolfsonian’s extensive collection tells a diverse and dynamic story, showcasing the evolution of ideas and designs that shaped the world. From household appliances that revolutionized daily life to architectural plans driven by ambition and propaganda that influenced the course of war, the collection spans regions beyond Europe and the United States, extending its reach to Latin America, Asia, and Africa. This global perspective allows visitors to appreciate the interconnectedness of history and the exchange of ideas across cultures. 

One of the highlights of my visit was the painting “Wintermorgen im Gußstahlwerk” (Winter Morning in the Cast Steel Works) by Fritz Gärtner. This masterpiece, created in 1912, provides a romanticized view of a steel mill in the Ruhr area of Germany, a region known for its heavy industry. Gärtner’s portrayal merges the gentle morning light with the radiance of the industrial complex, capturing the essence of a rapidly transforming landscape during the late 19th century. The sight of steam and smoke rising from the steel mill adds to the overall atmosphere of awe and wonder. This painting symbolizes the harmonious coexistence of nature and industry during a period of significant change. 

The Wolfsonian’s history is itself a story of curiosity evolving into a vast collection. It all began with a single hotel room key and has since become one of the largest American university art collections. This cultural cornerstone of Miami, now part of Florida International University, has played a pivotal role in preserving and celebrating the heritage of art and design. The unique collection reflects the eclectic tastes of many collectors and serves as an educational resource for thousands of students, scholars, and art enthusiasts each year. 

What makes The Wolfsonian truly special is the vision of its founder, Mitchell “Micky” Wolfson, Jr. His fascination with the impact of design on human experiences and attitudes led to the establishment of this extraordinary museum. Wolfson’s dedication to the arts, his philanthropic endeavors, and his role as a former diplomat have left an indelible mark on the cultural landscape of Miami. His influence extends even further, as he is also the founder of a sister museum in Genoa, Italy, known as The Wolfsoniana. 

During my visit, I had the opportunity to engage in writing exercises as a group, an activity that added a unique dimension to the experience. These exercises not only sharpened our writing skills but also fostered connections with classmates and sparked laughter. They served as a reminder that art and history are not just for solitary contemplation but can also be a source of communal enjoyment and enrichment. 

In conclusion, my visit to The Wolfsonian was a journey through time and art, offering a profound understanding of the transformative period from farm to factory. The institution’s impressive collection, iconic history, and commitment to art and design education make it a cultural gem in Miami and a must-visit destination for anyone seeking to explore the intersection of history, art, and design. 

“Patricia and Philip Frost Museum of Art as Text”  

Challenging Our Notions of Art  

By Vianne Barroso of FIU in Miami, November 17, 2023 

Walking through the rooms of the Patricia and Philip Frost Museum of Art was a major surprise for me. The museums that our class visits are normally located in tourist locations like Miami District Design and Miami Beach, but this time it was right at our school, Florida International University. In this reflection I will go over two specific pieces that stood out the most during my visit, capturing the essence of what the museum represents: Mike Kelley’s “Memory Ware Flat No. 48” and Kim MacConnel’s “Le Tour”. In their own way, these works embody the museum’s mission to provide a diverse art experience, focusing on the fusion of materials, use of collages, different patterns, and challenging visitor’s conventional notions of art. 

When the class and I stepped into Mike Kelley’s “Memory Ware Flat No. 48” room we were amused by the majesty of this piece. At first sight it looked like the artist used expensive, gold-made objects to fill out an entire canvas. However, when we took a closer look, we discovered that the items used were not of value. Kelley challenges conventional notions by using found jewelry and shining objects to create collages. The artist shows an opulence that is not opulent at all, challenging our perception to a different level. This piece also reminded of the memory ware jugs, that people make out of collecting jewelry and personal articles that their loved one used to use before passing away. 

Another fascinating piece from the museum’s collection is Kim MacConnel’s “Le Tour.” Here the artist assembled bands of fabrics of different lengths that demonstrate the blend of materials and influences that characterize his work. While analyzing this piece, the variety of patterns that each band had stood out to me. The strips were not chosen randomly, they were carefully picked to give an insight into various aspects of life. For example, one band had printed people in carriages and horses, while another showed figures such as telephones and irons. The inclusion of everyday objects challenges traditional ideas about art and invites reflection on the intersection between everyday life and art. 

One of the things we have seen throughout the semester is that the traditional notions of what art is, it is constantly being challenged by artist themselves. One may expect people who are committed to art to blindly defend it against anyone who tries to challenge its definition. However, in the field of art, discussions often develop in unexpected directions. Instead of artists protecting and preserving what art is, society and social norms are the ones acting as gatekeepers rejecting what is innovative and unconventional. I remember professor Bailly’s example of the Eiffel Tower, which is today an iconic symbol of Paris. When it was first constructed, it faced criticism from many quarters. This historical precedent highlights the fluid nature of art. What may seem radical or unconventional for a period may eventually become traditional.  

This view has a particular connection with Kim MacConnell’s “Le Tour,” as the inclusion of the Eiffel Tower as a pattern for one of the bands may have been met with skepticism when this piece was created fifty years ago. I can assume that those who saw this work at that time may have been inclined to reject it since it did not follow artistic standards of that time. In this way, the artist, like those who preceded him, becomes a pioneer, and contributes to the evolution of what today we call art. 

After visiting the Patricia and Philip Frost Museum of Art, I not only had the opportunity of witnessing its wonderful collection but gained a new understanding of the dynamic relationship between art, society, and time. I hope that many FIU students, like myself, have the time to visit this rich cultural center and discover the history that resides within its walls. 

Hello, my name is David Swisstack, a Business Analytics major at the Florida International University Honors College. This blog revolves around the Miami in Miami course taught by John Bailly. As I visit each destination, I am going to reflect on each experience in text, and talk about everything I notice in these historic and beautiful places, from the small things that catch my eye to the things that happen right in front of me, they all help to convey a perspective on each destination, and this blog is a reflection of that perspective.

“A New Discovery” by David Swisstack of FIU, Miami Encounter as Text, August 29, 2023

As I sit and reflect on what Miami is to me, I rarely think of rich histories, diverse cultures, and endless destinations. At times I feel trapped in this city and it feels like other places just have more to see and do. Being born and raised in Miami, I have watched the city grow and change, but I rarely realize how it all came to be. Being into tourist attractions, I have countlessly visited many of what Miami has to offer, but I believe these dedicated attractions are not even a small percentage of the rich history and architecture surrounding me.

Living in the Olympia Heights/Kendall area, I feel quite familiarized with the residential areas of Miami, with plenty of places to eat and parks to visit, and of course the amazing diversity that the city is partially known for. However, areas like downtown, Homestead, and Hialeah are completely unknown to me, as I rarely ever visit them since it feels like there isn’t much of a reason to aside from getting to one place in that area and hardly ever exploring much around it. Areas outside of my “comfort zone” feel somewhat foreign and unsafe, even if that isn’t the case at all. Even when going through these areas, I marvel at the architecture and style of some of these buildings, but hardly ever stopping to wonder what they are or if I can visit them.

I believe that history is everywhere you look and everywhere you don’t. Every single person and every single building, church, and house has a story to tell, whether it’s rich, sorrowful, or anywhere in between. Even Miami started from nothing, and it’s hard to believe that just a few hundred years ago, the area we know as Miami looked more like Everglades National Park, a vast natural swamp full of pinelands and hardwood hammocks. Starting from the day Miami was incorporated all the way to the city we know now, millions of people have come and gone, each with their own contribution to the Miami we see around us.

In this class, I desire to learn more about what we don’t see, and what we drive past every day, whether it’s the art deco architecture in Miami Beach or the European styled villas like Vizcaya. I believe that the history of Miami is so much more interesting than I could ever think of, and I am excited to see more of what awaits just a short drive away. Not only is it a bustling metropolis, it is a story that has been in motion for thousands of years. In this class, so far I am most excited to visit Miami Beach, given how little I really know about it, and would love to experience the incredibly unique architectural style along with the ocean breeze on my face. I believe there is an extremely interesting history in those neon lights, and that they are part of a rich and diverse mesh of cultures coming to life.

Even though I call Miami my home, I sometimes feel like an outsider looking in when I am reminded of the richness and size of my city, and knowing how diverse and beautiful Miami is makes me want to learn more about how it came to be the city we know today.

“A Divided Soul” by David Swisstack of FIU at Overtown Miami, August 30, 2023

When I asked friends and family about Overtown, a few thoughts came to their minds- and they weren’t very positive. Before visiting, I honestly had the same opinion. All I knew about Overtown was that it was an area to be avoided due to some negative publicity and reputation for crime. When I learned we were visiting, I was curious yet cautious about the idea. After experiencing it in Miami in Miami, I realized that Overtown is now the result of not only a physical division, but a social division as well. Knowing what I do now, I only wish the soul of this once thriving ‘Little Broadway’ was kept intact. It was extremely haunting to walk past the Lyric Theater and see a shell of what once was there. I can only imagine that the mentality of the Overtown area would be nothing like what it is today if even a fraction of its old charm was kept intact. Seeing old pictures and videos of what once took up that space, it became obvious that Overtown was not only an entertainment district, but a safe and accepting haven created by the Black community where people would go to escape the stresses of daily life, listen to beautiful music, watch famous performers, and eat delicious soul food.

One historic building that stood out to me above the rest was the Mt. Zion Missionary Baptist Church right next to the I-95 expressway. To me it felt like the perfect symbol of the division that occurred in Overtown. Instead of preserving the history and culture, a giant highway for cars was constructed right through the middle of a thriving Black community, immediately separating the area and its people. A highway built just mere feet away from one of the most important buildings in the area, the place of worship. What was once a united and soulful metropolis began to turn into a shell of its former self. The jazz music that once filled the area began to fade, the restaurants began closing, the theaters were abandoned, and in its place modern apartment and office buildings began construction. The soul of Overtown was erased, and its reputation changed forever.

I can only imagine how different things would be if this district still had the soul and charm that it was once known for. Not only would it be considered a must visit destination, but there would be nothing else like it in Florida. A place where the Black community could show off their vibrant culture and gather as one. It is disheartening to know that instead of hearing people say “Let’s go see a show in Overtown!” you instead hear people say “Don’t visit the Overtown area, avoid it if you can.” What could have been a New Orleans like district right in our backyard turned into a place with a reputation fueled by racism, division, and an increasing lack of respect for what once was and could have still been Miami’s “Little Broadway.”

“The Modern Berlin Wall” by David Swisstack of FIU at Coconut Grove/Vizcaya, September 24, 2023

During the last Miami in Miami class in Overtown, we came across an interesting sight while walking through the Downtown Miami area: a surviving piece of the Berlin wall. The wall separated the Communist and democratic areas of Germany, and the wall was filled with passionate graffiti among the attempts to climb it and get from the Communist side to the democratic side. While walking through the neighborhoods in Coconut Grove, I began to realize that there are a disturbing number of societal “Berlin walls” that separate one group of people from a certain race or economic status from another. It became increasingly evident that there was a clear separation between the neighborhood of the Black Bahamians and the wealthier neighborhood of Coconut Grove.

Having parked in the area near the wealthy neighborhood, it was clear that there were attempts to inconvenience those from the Bahamian area to easily walk to the other area, given by the fence that completely closed off the parking lot in the wealthy area from the Bahamian area, making us walk around numerous houses and buildings to get where we needed to go, instead of the fence being open and letting us walk more easily there. The architecture and landscaping also dramatically changed, with there being less trees, much smaller houses, and fences that seemed to close everything off. In the wealthier area, there was a more open feel, with shops, numerous trees, and a luxurious appeal. Private schools costing tens of thousands of dollars were everywhere, and each boutique store or local establishment seemed to cater to a high end consumer base, charging a premium for what they served. There seemed to be no trace in that regard of something that prominently showed off the Black Bahamian culture in the same way that the wealthy neighborhood was catered to in Coconut Grove.

However, I think the light in the tunnel was when we found a single walkway that went from the seemingly blocked off Bahamian area straight to the wealthy one, which was a clear breakage of that “societal Berlin Wall” which gave me hope that the fences and walls that separated both neighborhoods would be taken down, more walkways and connections would be built, and both areas would be integrated seamlessly instead of blocked off from each other as they are now. I feel like with all the physical and societal barriers that exist today, there should be more “walkways” that integrate and connect people of all races and statuses, instead of closing them off because of the color of their skin or the money they make. There are people of so many different ethnicities, cultural backgrounds, and they all have their own story to tell. I feel like there should be efforts to highlight the beautiful diversity in background and culture that this country continues to have. The United States of America has come a long way in this mission of equality, but there is still much more to go. We must tear down these societal barriers and realize how amazing and diverse the people of the USA are, and truly aim for a cultural melting pot for all to enjoy and none to be put behind.

“A Harsh Wake Up Call” by David Swisstack of FIU at Chicken Key/Biscayne Bay, October 4, 2023

The first vista from the Deering Estate looking over at Chicken Key really is something to remember. A far, completely empty and remote island. Canoeing there was quite the challenge, especially when our canoe started filling with water and slowly began to sink halfway to the island. However, when we finally reached the island, we were greeted with a small trail to the only manmade objects on the island, a circle of benches. Everyone split up and I began to walk around the island. I soon realized that although this island was completely uninhabited, the destruction of our oceans and environments was extremely apparent. There was trash everywhere, from plastic bags to bottle caps to Styrofoam and much more. The sheer amount of waste was ridiculous, and appalling. Ever since the advent of plastic, there has just been more and more accumulating in our oceans, even to the point of seeing endangered sea turtles trapped inside plastic packaging. It seems harmless to just throw away a plastic water bottle or grocery store bag, but it is much less the case when that same plastic bottle or bag ends up in the ocean, ending the life of a beautiful marine animal like a sea turtle or dolphin. Recycling does not even seem like an option at this point, given that even recycled plastic will eventually get thrown away instead of recycled again and just cause the same issue. When human impact is seen even in untouched locations like Chicken Key, it should be a wake up call of the waste crisis we are facing.

I believe it is up to our generation to do more than just recycle our plastic water bottles. We need to hold many of these companies accountable that are mass producing materials that are not biodegradable at an alarming rate. It feels like every day, more and more waste is being found in our ecosystems, oceans, and even inside the stomachs of animals. It is not until these materials stop being produced that we can start cleaning up the monster we made for our planet. Nature is extremely resilient and adaptable, but even the most robust of adaptations are unable to fight the thousands of tons of waste that is out there floating in our oceans and in our ecosystems.

Education about this topic may be a good place to start. Strength comes in numbers, and it is especially true when dealing with huge companies that make billions of dollars essentially destroying the environment with plastics and emissions. Individually, one person may not do much just recycling a plastic bottle, as there will always be hundreds more throwing one away later to be found in our oceans. However, the more people are aware of the real scope of this, the more real change can get made, and places like Chicken Key can truly stay healthy and beautiful, as they were thousands of years ago, and should continue for thousands more to come. This trip was truly a wake up call as to what is happening when a seemingly harmless thing like throwing away a plastic bag turns into something so much bigger and more harmful than we can imagine.

“Lost to Time” by David Swisstack of FIU at the Deering Estate/Preserve, October 18, 2023

Walking through the Deering preserve was an incredibly beautiful and memorable experience, and through all the landmarks and scenery that I saw, one stood out above the rest and had a distinct impact on me. In the middle of a dense tropical hammock, stood a burial mound of the Tequesta Native Americans. Looking like just a small hill upon first glance, it often comes at a surprise to learn that in it hosts the bodies of those who belonged to of a once thriving indigenous civilization, buried in a ceremonial way, and who continue to rest there to this day. Not only have the Tequesta lived in the Dade County area for over a thousand years, but they are almost forgotten by time, with very little traces of them left, even though they occupied the very same spaces that everyone in modern Dade County does now.

It baffles me how almost every person I’ve asked has either no or extremely limited knowledge of our geographical ancestors, especially given how other past civilizations, such as the Greeks and the Mayans, are studied extensively and their architecture preserved for all to visit and admire. Most of what is known about the Tequesta came directly from the Spanish, and it is haunting to know that within that burial mound are people whose cultures and identities are, for the most part, completely lost to time.

I wondered about this, and especially thought to myself: “What or who else is lost to time?” Much like the Tequesta, there are likely countless human civilizations, each with their own unique ideas, values, and cultures that we know little to nothing about. There are also works, writings, and artifacts that have been created, some that may even offer insights or answers to questions that humans have had for decades, that are just completely lost to time.

All of this makes me wonder- what if the Tequesta hadn’t been lost to time, and we knew everything we could know about them? Would things be different? Would their history be taught in schools all around South Florida? Would Miami be vastly different than it is now? These are all things that went through my mind when looking at this historic mound. What else is lost to time, and what else will undergo that same fate in the future?

Even if we don’t know much about the histories and cultures of people like the Tequesta, I believe they should still be treated with respect, and an open mind should be kept in case any new findings occur. It is important to respect humanity’s history and preserve as much of it as possible for future generations to study and respect for centuries to come.

From burial mounds to using conch shells as tools to a town center looking over the Atlantic ocean, one can only imagine how the Tequesta life truly was like. Vast pinelands and hammocks and fields full of native wildlife in large numbers instead of the bustling metropolis we all think of today with the developed city of Miami. Everything in history had to happen to get us to the point of where we are today, and knowing how everything came to be is something that we should all be aware of.

“Destruction of History” by David Swisstack of FIU at South Beach, October 25, 2023

When walking around South Beach, one thing was made immediately clear to me aside from the ocean breeze and the ambiance of the music and chatter in the background. People don’t only come to South Beach for the white sand and crystal clear waters. Although that may be an incentive, what really put South Beach on the map was the unique and historic Art Deco architecture that was prevalent throughout the area. Gone was the concept of making buildings look like mountains or rock formations, and instead came the concept of creating buildings that looked like machines, appliances, or even rocket ships. Each small detail was intentionally placed to appear manmade, neon, and colorful, and at night the signs of each building became aglow with dazzling neon lighting. Miami Beach, being the largest collection of this style of architecture, almost becomes a window into the retro style of the past, where color and style were a top priority.

However, as we continued to walk north, the unique art deco style began to change and shift to more skyscrapers, apartment buildings, and complexes as if it were Brickell. It was a sudden and dramatic change, going from relatively small and contained yet stylish buildings to large and comparatively uninteresting ones. Although they may serve more purpose functionally, the draw of the unique architectural style was no more, and the occasional art deco buildings became more and more sparse. The number of floors grew from two or three all the way to the double digits, and the colorful nature of the art deco became swapped for more minimalist pallets.

The major thing that is concerning for me is how one day, as these historic buildings age, there may be more and more of a financial incentive for the City of Miami to allow for their destruction and create new buildings and complexes. Although in theory this may seem like it could generate more revenue, the unique aspect that put Miami Beach on the map would be erased, and a special part of its history would be essentially painted over and left as just a memory.

This reminded me of the historic Overtown area of Miami, where communal buildings, restaurants, and theaters were taken down to create more skyscrapers, apartments, and hotels. The soul of the area was lost, and what once made it a destination was gone forever.

Would the soul of Miami Beach be gone forever if the Art Deco architecture was removed? I believe that much of its personality would be lost, and there would be less of an incentive for people to visit as opposed to other beaches in the area that offer similar amenities. For something to have appeal, it should do something different and unique that people are unable to find anywhere else. The unique architectural style is what defines that aspect in Miami Beach, and removing it would create a soul lost to time as is the case with Overtown and many more once historic and beautiful areas.

“An Underappreciated Oasis” by David Swisstack at Everglades National Park, November 8, 2023

One of the highlights of the Miami in Miami class for me had to be walking through the cypress dome and sawgrass marsh, with the beautiful, colorful, and unique cypress dome reaching up out of the water. It’s an experience not many people are aware of, and if they are, they think of it as a dangerous and risky trek through wilderness. When I’ve asked people to describe the Everglades, the first words that come to mind have usually been “alligators, dangerous, gross, or boring.” This couldn’t have been further from the truth. When driving into the park, the infrastructure of bustling Miami immediately disappeared and a seemingly infinite number of pine trees lined the streets instead, supporting rare and beautiful wildlife as far as the eye could see. It is unfortunate that many people who have this national park in their own backyard just a few minutes drive away may not have even visited it in their lifetime. When I told my mom that there were communities of deer living throughout the Everglades, she seemed surprised and interested, not knowing that there were native deer in Miami, and expressed a desire to go and see the wildlife one day.

This really exposes one of the biggest issues I’ve seen regarding the lack of appreciation for the Everglades, and that is education. More people, especially those in Miami, should be more aware just how important the Everglades are, being both a source of freshwater for the cities and a refuge for many endemic and endangered species. The more people are educated about the importance of this precious ecosystem, the more efforts there will be to continue to conserve it. This brings me back to the slough slog I completed with the Miami in Miami class. Not only was it a memory I will have with me for the rest of my life, but it really showed me how disconnected I was from the true natural beauty that was just a half hour drive away. I too, was uneducated on how extensive and amazing the natural wonders in the park actually were, and it was only when I was truly off trail and in the water that I fully experienced it. I believe this is a must do for everyone who is interested in learning more about Florida’s ecosystems, and promoting these activities for all to experience can help create more knowledge of the beauty and wonder that this national park has to offer. When I went off on my own in the sawgrass marsh and looked at the cypress dome in the background, I truly felt a sense of peace and awe. It is unfortunate that many people are afraid at the idea of going into the swamp or feel as though it is “dirty” and “ugly,” which couldn’t be farther from the truth. As more and more people learn about these once in a lifetime experiences and come to appreciate the Everglades, the more those people will want to come back and continue to conserve it for centuries to come.

“A New World Discovered” by David Swisstack of FIU, Miami Final Reflection as Text, December 10th, 2023

It feels almost impossible to look at Miami the same way now as I did before starting this Miami in Miami journey. Even though I have lived here for twenty years, it feels like my understanding of this city’s rich history has just begun, and this class was the catalyst for further curiosity in learning more about my home. When I began, I had no idea what to expect, and that was reflected in my first post, where I felt like the places I visited had so much more to offer historically and architecturally, and even keeping this in mind, I was still blown away every time. Even the smallest of details, especially ones that people drive by without knowing a thing about, have a story to tell. I often hear people say “A picture is worth 1000 words,” and I think this sums up every corner of Miami perfectly. Wherever we went, there was something new and interesting to be found, and even the most mundane seeming things have something to tell with how they came to be.

In my first reflection, I stated that I was afraid to step out of my “comfort zone,” especially when thinking about areas like the Everglades and Overtown, where my lack of knowledge turned into uneasiness. After I visited many of these places, that uneasiness turned into wonder and awe, as I admired the lush tropical landscapes with a deeper appreciation and the architectural feats around me with a more open and educated mind about the history behind them. Surprisingly, what impressed me the most wasn’t the huge eye catching colorful buildings, but instead the things most people would gloss over, like the Cutler Fossil Site or the Tequesta Burial Mound. Even the trench outside the Deering Estate had a story to tell, and it was these seemingly small things that had the most impact on my experience. This class taught me that the most rewarding things lie outside my comfort zone, and I should hold that sense of adventure and wonder in everything I do, whether that be in the classroom or in my daily life.

I will reiterate a statement from my first reflection that I believe holds true and still will for generations to come: “Miami is a story that has been in motion for thousands of years.” It is a story that is just beginning to unfold, as the city’s rich and ever-growing aspects continue to develop and change time and time again. Every time I drive past a rare pine rockland ecosystem, or see an art deco building, or notice residential houses right next to skyscrapers from now on, I now have a unique perspective and a growing sense of wonder as I think about the struggles and histories behind every inch of these destinations.

Miami is more than just a city, it is a cultural and diverse generational melting pot, and its story has just begun. Miami in Miami enabled me to see my home in a unique and beautiful way, and I will forever cherish each new memory and discovery I make in this one of a kind world that I appreciate more each and every day.